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POST ROCK/MATH ROCK

A Progressive Rock Sub-genre


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Post Rock/Math rock definition

POST-ROCK:

The term post-rock was coined by Simon Reynolds in issue 123 of The Wire (May 1994) to describe a sort of music "using rock instrumentation for non-rock purposes, using guitars as facilitators of timbres and textures rather than riffs and powerchords."

Originally used to describe the music of such bands as Stereolab, Disco Inferno, Seefeel, Bark Psychosis and Pram, it spread out to be frequently used for all sorts of jazz- and Krautrock-influenced, instrumental, electronica-added music made after 1994. Bands from the early 1990s such as Slint, or earlier, such as Talk Talk were influential on this genre. As with many musical genres, the term is arguably inadequate: it is used for the music of Tortoise as well as that of Mogwai, two bands who have very little in common besides the fact that their music is largely instrumental.

The aforementioned Tortoise was among the founders of the movement. After the second Tortoise LP Millions Now Living Will Never Die, the band became a post-rock icon. After Millions... many bands (e.g., Do Make Say Think) began to record, inspired by the "Tortoise-sound" and were often described as post-rock.

In the late nineties, Chicago, Illinois, became the home base of many different groups. John McEntire (of Tortoise) became an important producer for lots of them, as well as Jim O'Rourke (of Brice-Glace, Gastr del Sol and many more). Post-rock began to range from the slow, guitar-based ambience of Boxhead Ensemble to the up-tempo electronica of Stereolab.

Montreal, Quebec band Godspeed You Black Emperor! - later renamed 'Godspeed You! Black Emperor' - brought a political element with anti-globalization movement leanings.

By the early 2000s, the term had started to fall out of favor, while the major artists kept on making high quality recordings. The wide range of styles covered by the term had robbed it of its usefulness almost from the moment it was coined.

Closely related to post-rock is the genre known as Math rock, characterized by more percussive timbres, and more dissonant harmonic gestures.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Post-rock".



MATH ROCK:

Math Rock is a genre that emerged in the late 80's and that was influenced by both the intricacies of progressive and avant-garde rock - King Crimson, Frank Zappa, Henry Cow - and 20th century composers such as Steve Reich and John Cage. The music is characterized by complex structures, angular melodies and constant abrupt changes in tempo and time signature. The name Math Rock is a term that grew out of the Chicago scene and the artists working with engineer Steve Albini in an effort to describe the new style.

The basic building blocks of Math Rock can be traced back to the late 60's and 70's where Progressive Rock artists were making more elaborate compositions than the standard rock bands and were experimenting with song structures. Early Avant-garde groups like Massacre, and artists such as Captain Beefheart and John Zorn were highly influential to Math Rock bands and traces of their music can still be heard throughout the genre. Another big influence to the Math Rock approach was Slint with their album "Spiderland" which showcased many techniques that Math Rock bands will follow in the future. Punk also had significant impact on the sound of Math Rock bands. Other notable influences are: Post-Rock, Heavy Metal, and Jazz.

Although there are Math Rock bands in different countries around the world, most reside in the United States, the Midwest in particular, and tend to be divided by regions: Pittsburgh bands (Don Caballero, Six Horse) Chicago bands (Shellac, U.S. Maple), Ohio bands (Keelhaul, Craw) Louisville bands (June 44, Rodan, The For Carnation, Crain), and San Diego bands (Drive Like Jehu, Tristeza) among others on both coasts. Japan was also an important country in the Math Rock genre with bands like Ruins and Zeni Geva.

POST/MATH ROCK TEAM MEMBERS:
Zravkapt (Darryl)
Kelvin (LearsFool)
Audun(The Bearded Bard)
Angelmk (Angel)
The Truth (Tanner)
Austin (Horizons)
Jason (Second Life Syndrome)

Post Rock/Math rock Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 Post Rock/Math rock | More Top Prog lists and filters

4.47 | 34 ratings
FOR LONG TOMORROW
Toe.
4.47 | 27 ratings
SINES
Jakob
4.32 | 53 ratings
CHILDREN OF GOD
Swans
4.27 | 54 ratings
RANDOM AVENGER
Magyar Posse
4.13 | 478 ratings
GTIS BYRJUN
Sigur Rs
4.12 | 455 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.15 | 164 ratings
ENTER
Russian Circles
4.30 | 36 ratings
THE COLLIBRO
Lis Er Stille
4.15 | 127 ratings
THE SEER
Swans
4.46 | 18 ratings
KING NINE
Blueneck
4.36 | 23 ratings
THE LAST DAWN
Mono
4.07 | 347 ratings
F# A# ∞
Godspeed You! Black Emperor
4.16 | 58 ratings
THE EXTENT OF DAMAGE
Battlestations
4.32 | 24 ratings
BEAUTIFUL
About Tess
4.63 | 11 ratings
DREAMS THAT COME A THING (PT I) ...NEVER THOUGHT IT MAY SEEM…
Bosch's With You
4.21 | 37 ratings
PHANTASIA
Lite
4.08 | 110 ratings
ULVER WITH TROMS CHAMBER ORCHESTRA: MESSE I.X - VI.X
Ulver
4.07 | 121 ratings
IN A COLD EMBRACE
Battlestations
4.14 | 48 ratings
SOUNDTRACKS FOR THE BLIND
Swans
4.10 | 71 ratings
CODENAME: DUSTSUCKER
Bark Psychosis

Post Rock/Math rock overlooked and obscure gems albums new


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

DATURAH
Daturah
ACTUAL MUSIC QUARTET RSM
Actual Music Quartet RSM
TREE, SWALLOW, HOUSES
Maps & Atlases
RECORDING A TAPE THE COLOUR OF THE LIGHT
Bell Orchestre

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Latest Post Rock/Math rock Music Reviews


 Guidance by RUSSIAN CIRCLES album cover Studio Album, 2016
4.05 | 2 ratings

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Guidance
Russian Circles Post Rock/Math rock

Review by Rune2000
Special Collaborator Prog Metal Team

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

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

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

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

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

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

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

 Memorial by RUSSIAN CIRCLES album cover Studio Album, 2013
3.35 | 21 ratings

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Memorial
Russian Circles Post Rock/Math rock

Review by Rune2000
Special Collaborator Prog Metal Team

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

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

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

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

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

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

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

 The Glowing Man by SWANS album cover Studio Album, 2016
4.29 | 11 ratings

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The Glowing Man
Swans Post Rock/Math rock

Review by Conor Fynes
Prog Reviewer

4 stars 'The Glowing Man - Swans (82/100)

I'm not completely sure why I prefer The Glowing Man over To Be Kind, to be honest. Comparisons between the two are practically inevitable; Swans have created an experience closely similar to their last record, not simply in terms of the music's uneasy atmosphere, lavish arrangement and unwieldy length, but with regards to the way it's been discussed with others as well.

Getting into the work of Swans has been an uphill battle for me in more ways than one. No compromises can be made when listening to one of their works, especially when you consider that some of the magic would be lost in breaking these two hour beasts into smaller sessions. The Glowing Man may be hailed (and rightly so!) as a gentler take by Swans' standards, but that might be the reason why it's ultimately resulted in the emotional reaction To Be Kind only ever hinted at.

As with the last album, I'm amazed that a rock album could challenge so and spark discussion like this in 2016. Where To Be Kind got that reaction across by pushing each aspect of music to its extremes -- be that in terms of length, heaviness, repetition, density or whatever else -- The Glowing Man rides gracefully on those coattails, creating music that still embraces those extremes without so much of their inherent edge. Swans' drone-rock sounds almost comforting in many sections of The Glowing Man, and even the most excessive segments here (like the ceaseless offbeat repetition in the half-hour title track) sound like they've been tightly reined in.

For some fans, I could see why this would make The Glowing Man seem like the lesser option. In some ways at least, it probably is. By this trilogy's standards, I don't find myself nearly as challenged listening to this one. Where The Seer and To Be Kind practically had to strangle appreciation out of me following the first couple of listens, The Glowing Man appears as a gentler return to familiar territory. The compositions are long, drawn out and eerily hypnotic. While it's not necessarily any more melodic, and certainly no more compact than its predecessors, the welling up of sound is consistently prettier here. If The Glowing Man is a journey, it's not trying to take you to every emotional extreme, as Swans were wont to do in the past. There's an undertone of uneasiness throughout the album, but it really does sound like the kind of meditative droning journey that could be interpreted as a greater parts reflection over action.

The inclusion of shorter tracks was a brilliant move, and one that I think really plays into The Glowing Man' role as the "gentle giant" of their 2010s trilogy. Where the longer sprawls conjure feeling in the slow build of dense textures and harmonies, shorter pieces give the band a chance to accentuate emotion with greater control. I think "Finally, Peace" does a near-perfect job of capping off the record, especially after such an exhausting climax in the title track. While it may seem like a repeat of the experience of To Be Kind at times, this album does a wonderful job of seeing off this chapter of the band's career together. The Glowing Man isn't a repeat so much as it is a reflection of the material they've put out in recent years. It's probably time for Swans to start moving their sound on again now that the trilogy is over. Although I've always held back from calling myself a true fan of theirs, I'm really excited to see where the band will go next.

Originally written for Heathen Harvest Periodical.

 The Glowing Man by SWANS album cover Studio Album, 2016
4.29 | 11 ratings

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The Glowing Man
Swans Post Rock/Math rock

Review by Neu!mann
Prog Reviewer

5 stars A newcomer discovering the music of Swans through any of the band's recent albums might feel like Vasco Nuez de Balboa seeing the Pacific Ocean for the first time, confronted suddenly by an awareness of something almost unfathomably vast, immeasurably deep, and more than a little intimidating. Their latest in a series of epic two-disc releases is also possibly the best of the bunch: a potential masterpiece waiting to be acknowledged as such, although the effort may require some patience.

This is a group able to elevate Post Rock monotony to a very loud, very intense dramatic art. Few other acts have the same knack for transforming a single note - minor key, of course - into an ungentle 30-minute dirge: ebbing, flowing, slowly collapsing, even more slowly reforming...all of it overlaid by Michael Gira's droning poetry, likewise stretching every labored syllable into a dark and secret mantra. I wouldn't dare quote a sample: his lyrics read like the lucid dreams of a manic-depressive shaman, and every stanza acts like a vortex sucking the unwary visitor into a bottomless abyss.

The band behind Gira, including new KING CRIMSON drummer Bill Rieflin (listed as 'Hit Man and 7th Swan'), aren't really musicians: these are fire-and-brimstone ascetics with amplifiers and guitars...lots of guitars. Together they create an almighty racket, dense and powerful but rimmed with a mysterious fluorescent light. Rieflin's guest appearance is appropriate: the music shares a loose kinship with Robert Fripp's more esoteric soundscapes, as heard in the waves of choral voices opening "Frankie M" (two of the backing singers are credited simply with 'atmospheric voices').

But the album isn't all ambient rock. Sometimes it actually rocks, especially over Disc Two, where the music comes into sharp focus. Check out the 29-minute title track, which really lets out all the stops. After a long, heavy, hypnotic prologue the song shifts gears suddenly upward into a relentless, atypically urgent groove, recalling the stronger motorik rhythms of early CAN or classic NEU! It's an incredibly tense performance, resolved at (long) last by the surprisingly handsome melody of "Finally, Peace": an upbeat, album-ending anthem currently lodged in my head like a spike of pure radiance

The total experience is no less inscrutable or demanding than other Swans albums I've been exposed to. And yet somehow it seems more accessible, or maybe I'm just growing more accustomed to the band's monolithic style. On principle I would never award five stars to a new album until it's withstood the test of time. But the entire two-disc package is almost long enough to pass that trial in a single sitting, so why wait? Like death, like taxes, like the apotheosis of Gira's unique musical vision, some things are inevitable.

 Von by SIGUR RS album cover Studio Album, 1997
2.47 | 91 ratings

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Von
Sigur Rs Post Rock/Math rock

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars The ethereal post-rockers from Iceland hit it big with their huge international hits "gtis byrjun" and "( )" but the band really began way back in 1994 in Reykjavik slowly developing their post-rock visions and finally releasing their debut album VON ("Hope" in Icelandic") in 1997. This is one of those overproduced albums that the band states turned out nothing like planned but when all was said and done decided to stick with the finished produced due to all the money and time expended. While the album was only moderately successful in their native Iceland at the time of release, after international fame came from the more ethereal and successful albums that followed, VON was re-released and has since become an well established and well known release in the band's discog.

It's quite the surprise that this is a sort of a proto-SIGUR ROS album that has all the elements of future releases in play but doesn't quite make them gel together in the brilliant cohesive manner of later albums. The ethereal parts are here of course as are the post-rock elements but they don't quite wanna go on a date together yet and what we are treated to here are snippets of ideas albeit lengthy meandering snippets that exhibit sonic interests but haven't been put on the work table as to how to properly gestate their nascency into a fully functioning organism, therefore leaving a disjointed feel for the whole shebang, And no one hearing this album at the time would ever been able to predict that this album would lead to a band that would create some seriously bizarre and original music.

Track one which is ironically titled "SIGUR ROS" which is a frightening ambient track with high pitched vocal screeches, synthesized horrific sounds and depressive developments that ultimately cedes into the second track "Dgun" which sounds like the Cocteau Twins on valium or something. A rather de-popped space pop version of something on "Victorialand" where the female vocals echo and bellow amidst the shimmering sonicities of ambient keys creating the sonic counterpart to a desert mirage. It turns into a full-fledged ambient desert caravan surreal effect that creates a most surreal and outlandish collage effect of a single melodic note being accompanied by sound effects. Tracks like ""Hn Jr ?" are very Dead Can Dance-ish but with heavy alternative rock accompanying it.

As stated, this album is really packed full of different cool ideas but doesn't quite simmer them down into a digestible tonic and a little bitterness must be experienced to get much out of this album, but if you have a taste for such things, then this is a crude and raw first step into the SIGUR ROS universe as it shows just how the group threw all the ingredients into the cauldron and boiled them down into a musical blessing. Personally i love this album on rare occasions as it requires the precise mood to enjoy but when that mood hits me, VON is a distinct and bona fide mood enhancer indeed. This is probably one of the hardest SIGUR ROS albums in that it has frenzied guitar passages despite accompanying mid-tempo percussion.

As with many debut albums, i have a soft spot for the totally experimental that the brave and the bold display. SIGUR ROS is one of those bands. The passion is on full flame here even if the full compositional prowess had not yet developed. I love this album simply for its utter unpredictability where ambience and hard post-rock alternate, marry and then divorce in sudden whims of passion. While not nearly as ethereal as future releases, VON is definitely a post-rocker's eclectic dream come true with jangle pop, ambient, drone, shoe gaze and avant grade all having a sublime orgy of sonic possibilities and for that it is truly innovative in its approach despite not being mature enough to create something that would pass as totally grown-up.

3.5 rounded UP because this is a really cool album that doesn't get enough love

 Children of God by SWANS album cover Studio Album, 1987
4.32 | 53 ratings

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Children of God
Swans Post Rock/Math rock

Review by Warthur
Prog Reviewer

4 stars The culmination of Swans' early post-punk no wave era offers up what is, for the most part, a unique sonic experience. Not entirely - album opener New Mind sounds like The Fall so much I swear that Michael Gira is doing some sort of Mark E. Smith impersonation on the vocals. Dark post-punk nearly-gothic music running down religion isn't exactly rare, but music which sounds like it's full on dead and rotting on the inside like some sort of sonic zombie is a whole other deal. It's no surprise that from here they went down the full-on gothic neofolk route they took from The Burning World onwards, because this takes their early sound about as far as it can go without descending into absurd self-parody.
 La Di Da Di by BATTLES album cover Studio Album, 2015
4.01 | 45 ratings

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La Di Da Di
Battles Post Rock/Math rock

Review by Lewian

4 stars The Battles are perhaps the most original and fresh rock band I've heard in the last few years, and this extends easily to La Di Da Di. Characteristic for the band and particularly this album is the combination of electronic loops with very energetic but still precise drumming, which means that the whole thing is dominated by rhythm and a very physical affair. La Di Da Di has a bright summery feel and should put a smile on your face. It's all instrumental. It's also quite addictive. At the moment I get more and more into the state that I want to listen to this again and again. It's just the kind of music that in certain (rather light-hearted) phases of life can become a persistent feature. Yeah, let's listen to Battles once more. It wasn't exactly love at first sight, and I can still see certain flaws in this. There isn't much fascinating melody to follow here; much of the melodic material has a rather repetitive merry-go-round kind of style, and often presented in a percussive attitude that makes it rather part of the overall rhythmic stream than something to appreciate on its own, and it depends on the mood to what extent this is rather part of the fun or rather a defect. Many of the tracks follow a similar recipe (there are some different degrees of drum dominance and intensity, though), although in exchange, at times we get some unexpected twists within the same song, and the dynamic is strong throughout.

Overall it's not perfect and I could see some potential for broadening the approach of the band, but this doesn't take away from the freshness and fun.

 To Be Kind by SWANS album cover Studio Album, 2014
3.94 | 162 ratings

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To Be Kind
Swans Post Rock/Math rock

Review by Warthur
Prog Reviewer

3 stars Eh, I'm not sure about this one. It isn't bad - of course it isn't, this is late-period Swans here - but much of it seems to lack a certain Swans something. The band seem to draw on the influence of Godspeed You Black Emperor here and there - see in particular the climax of Nathalie Neal - and whilst for the most part that is a good thing, it does make this a disorienting listen. And two hours is probably too long by far, the band showing little willingness to actually edit down their material to tease out the successful parts and rework the limp bits.
 The 5 EPs by DISCO INFERNO album cover Boxset/Compilation, 2011
4.50 | 2 ratings

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The 5 EPs
Disco Inferno Post Rock/Math rock

Review by admireArt
Prog Reviewer

4 stars Browsing through my prog/rock collection of pretty well rated releases in this PA site, which I have acquired due to the same , I skipped some but left DISCO INFERNO-"The 5 EPs", 2011, which as far as I remember was recommended by fellow reviewer LearsFool, well Kudos!

For starters what caught my attention, I have to confess, is the fact that it is not stuck in the borders of the quiet repetitive Prog's protocols, which by itself, is highly refreshing. I will try to explain what is going inside this 5 EPs collection.

Kind of a mix between Nick Cave's up front, lo-fi recorded, explosiveness (his both highly refined yet raw Punk 80's music, not his untouchable lyrics of course), this happening here and there, some splashes of David Sylvian's Japan like mode of story telling singing, lots of trashy experimental electronics, trashy guitars, Sigur Ros' early and Cabaret Voltaire's polished "post-Punk" attitude, even "Zappaezques" gentle reminders and yeah, it has its TALK TALK kind of momentums (here and there).

It will show its timing in its music composition, so feel forewarned and be prepared for a joyful and amazingly "un-cliched" trip to those post 80's, less obsessed with what their ancestors craved for.... FAME!

Prog sub-genre wise, its experimental nature and focused carelessness could appeal also to the RiO enthusiasts but its post-80's touch, although perfectly suited, may scare half of them.

A daring array of songs that never cease to offer thrills and intelligent solutions, yet it will show its age more than once, as I have mentioned more than once. Aside from that, a keeper in my selection and the kind that makes you look for more of DISCO INFERNO's other releases.

****4.5 PA STARS.

 The 5 EPs by DISCO INFERNO album cover Boxset/Compilation, 2011
4.50 | 2 ratings

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The 5 EPs
Disco Inferno Post Rock/Math rock

Review by LearsFool
Collaborator Post/Math Rock Team

5 stars First of all: I don't even know how to start this review. I could say that Disco Inferno is one of the best bands you never heard of, or how post rock doesn't even begin to describe them, or how they're the best plunderphonics group ever without even focusing on being a plunderphonics group, or "Flipping faders, Batman! These three Brits covered so much ground and always sounded so beautiful and perfect!", or mentioning how this goes above and beyond the great experimental EPs and killer collections thereof in the '90's... or I could string all that together into one long run on of gush for these demigods.

Released over three years in original format, and first collected by an enterprising internet bootlegger in '99, these fifteen cuts touch a mind boggling myriad of genres and styles and master each and every one as they are subsumed into a eudaimonic whole. I'll just list: post rock, post punk, plunderphonics, electronics, britpop, noise pop, noise rock, acoustica, ambient, IDM, concrete. It was always ethereal, always experimental, always flawless. Nature and urban samples and electronic washes both surrounded and acted as the foundation for the band's exercises in genre busting, with tracks variously spacing out, chugging along like an '80's post punk band on Talk Talk, forming a pop song, or, by the end, just losing themselves in the set dressing. Ian Crause could gently and forlornly speak through the sheets of sound, or sing along when the song called for it. And on top of all that, "The Atheist's Burden" uses the electronics for rhythm, and "It's A Kid's World" drives on the back of pounding drums plundered from you'll-know-where.

This really is something else, with no words for it. Outclassing all comers, both from the genres they took from and from fellow EP wielding experimentalists like The Beta Band and Brainiac, this stands as Disco Inferno's completed magnum opus. And thank goodness that this collection eventually got an official release.

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Post Rock/Math rock bands/artists list

Bands/Artists Country
*ANCIENTS Multi-National
[BLEU] Switzerland
100 ONCES United States
1099 Norway
12TWELVE Spain
33.3 United States
37500 YENS France
3ND Japan
417.3 Russia
52 COMMERCIAL ROAD United Kingdom
65DAYSOFSTATIC United Kingdom
A. ARMADA United States
ABOUT TESS Japan
ACANTILADOS Argentina
ACROSS THE WAVES Iran
ACTARUS Luxembourg
ACTIVITIES OF DUST United States
ACTUAL MUSIC QUARTET RSM Russia
ADEBISI SHANK Ireland
AERIAL Sweden
AESTHESYS Russia
AFFORMANCE Greece
AIUA United States
AL SABO United States
ALBINOBEACH South Africa
THE ALBUM LEAF United States
ALFHEIMR United States
ALL ANGELS GONE France
ALL WILL BE QUIET Finland
ALL YOU'VE SEEN Switzerland
THE ALLSTAR PROJECT Portugal
ALRIGHT THE CAPTAIN United Kingdom
AMBIENTE Mexico
THE AMERICAN DOLLAR United States
ANA NEVER Serbia
ANALECTA United States
ANATHEME France
AND SO I WATCH YOU FROM AFAR Ireland
AND STARS COLLIDE United Kingdom
ANOICE Japan
ANTARCTIC United States
THE ANTARCTICANS United States
ANTENNAS TO HEAVEN United Kingdom
ANTETHIC Russia
APRICOT RAIL Australia
ARBOR LIGHTS United Kingdom
ARCTIC PLATEAU Italy
ARROWAY France
ART.FICIAL Brazil
AS THE POETS AFFIRM Canada
THE ASCENT OF EVEREST United States
ASTRO SONIC Norway
ATTILION Indonesia
AUDREY FALL Latvia
AUSTIN TV Mexico
AUTO!AUTOMATIC!! United States
AUTOMASSAGE Slovenia
AUTUMN MOONLIGHT Argentina
THE AUTUMN PROJECT United States
BAFFODORO Italy
BALMORHEA United States
THE BALTIC SEA United States
BANGLADEAFY United States
BARK PSYCHOSIS United Kingdom
BATTLES United States
BATTLESTATIONS Belgium
BEAST PLEASE BE STILL United States
BEATEN BY THEM Multi-National
BECAUSE OF GHOSTS Australia
BELEGOST United States
BELL ORCHESTRE Canada
BELOW THE SEA Canada
BELYE FLAGI ZAZHIGAYTE MEDLENNO Russia
BESIDES Poland
BETRAYAL AT BESPIN Finland
BEWARE OF SAFETY United States
BEYOND FREQUENCY Brazil
LA BIBLIOTECA DESERTA Italy
BILL IN THE TEA Italy
BILLY MAHONIE United Kingdom
BLACK FOREST/BLACK SEA United States
BLACKPAPERPLANES Belarus
BLUEBRIDGE QUARTET Sweden
BLUENECK United Kingdom
THE BODY LOVERS United States
BOSCH'S WITH YOU Russia
BOXHEAD ENSEMBLE United States
BRAINBOW United States
BRASS KNUCKLE SURFER United States
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