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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 1/3/2020

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

4.27 | 95 ratings
RANDOM AVENGER
Magyar Posse
4.22 | 110 ratings
CHILDREN OF GOD
Swans
4.14 | 614 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.12 | 587 ratings
ÁGĆTIS BYRJUN
Sigur Rós
4.09 | 438 ratings
F# A# ∞
Godspeed You! Black Emperor
4.13 | 93 ratings
SOUNDTRACKS FOR THE BLIND
Swans
4.53 | 12 ratings
ATLAS
American Dollar, The
4.34 | 19 ratings
PIEONEAR
Silence Kit
4.26 | 26 ratings
HOW LONELY SITS THE CITY
Ascent Of Everest, The
4.22 | 31 ratings
SILENCIA
Hammock
4.07 | 202 ratings
ENTER
Russian Circles
4.32 | 19 ratings
THE BONES OF A DYING WORLD
If These Trees Could Talk
4.05 | 280 ratings
SHADOWS OF THE SUN
Ulver
4.47 | 11 ratings
EUTHERIA
Equus
4.31 | 17 ratings
NEW LEVELS NEW DEVILS
Polyphia
4.06 | 116 ratings
ONE TIME FOR ALL TIME
65DaysOfStatic
4.11 | 46 ratings
SINES
Jakob
4.05 | 109 ratings
AMERICAN DON
Don Caballero
4.09 | 50 ratings
VIXIT
Battlestations
4.25 | 18 ratings
THE EUPHORIC
Fierce & The Dead, The

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

EMBERS
UpCDownC
WIDOW
Day For Airstrikes
JINX
Kammerflimmer Kollektief
INVENTIONS FOR THE NEW SEASON
Maserati

Latest Post Rock/Math rock Music Reviews


 Juice B Crypts by BATTLES album cover Studio Album, 2019
4.00 | 5 ratings

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Juice B Crypts
Battles Post Rock/Math rock

Review by Lewian
Prog Reviewer

4 stars Battles have shrunk to a duo now, having lost bassist and guitarist Dave Konopka after Tyondai Braxton. Both of them are missed in the Battles sound, but I've got to give to the two remaining members that they try to make the most of it. This means particularly that this album is a firework of ideas, surprises, and originality. The previous La Di Da Di was much more consistent with a clear thread running through the album; Juice B Crypts rather tries to push some borders on most tracks. The overall sound though can be seen as an element of consistency also in Juice B Crypts, and with the Battles oeuvre in general. This comes without bass and with much less guitar now, synthesizers, electronics and Stanier's mighty (and occasionally quite noisy) drums take the center stage with some vocals (by guest vocalists) thrown in once in a while, and even rarer guitar. Ian Williams loves fat, round, and sequenced sounds. Typically for Battles, it's a very rhythmical and physical affair (to which both the drums and the sequenced synsounds contribute), pretty fast and mind boggling at times, with quite a few changes within the tracks; I should note that these make musical sense and come across as reasonably organic (which is not always the case in math rock my perception). For sure some glorious grooves are to be found here.

The overall mood is a special thing about this album, unique and not easy to pin down. Surely it's rather bright and pulsating, the happiness that this conveys is superficial enough that we can wonder what's behind it... something deeper or... nothing? The missing bass often leaves an empty space between the drums and the electronic sounds that is too obvious to be ignored. In many places the music comes over as robotic, and somewhat alien to natural human instincts. Some more humanity and variety comes in through the use of various vocalists (among them Jon Anderson). Some of the voices are manipulated and somewhat roboterised, and only underline the outerworldly feeling, we also get some rap, and where the singing is more "natural", it points to the strangeness of the other proceedings by contrast. I guess many listeners will miss warmth and emotional depth here, but what can be perceived as deficiency can also be seen as a quality, the impression of emotional superficiality may itself be too superficial to do this music justice, and the depth is as much implied as it seems missing where we look for it. For all the superficial fun, complexity, and brightness, I sense yearning for something lost as another somewhat deeper element here, barely hidden by some of the smiling noise making at the surface.

This is a strikingly unique and innovative album with a happy-go-lucky and making-a-noise tendency that may be frustrating at times, but there's much to discover behind it. Williams and Stanier have succeeded to built something very special from the Battles elements that are left; maybe they have tried a bit too hard. I'm curious how this will do for me in the long run. For now I say 3.7 stars.

 At the Soundless Dawn by RED SPAROWES album cover Studio Album, 2005
3.81 | 98 ratings

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At the Soundless Dawn
Red Sparowes Post Rock/Math rock

Review by progtime1234567

4 stars I thought this album was going to be more of a post metal record than anything else, but boy I was wrong. Red Sparrowes provided a solid piece of post rock with At the Soundless Dawn. There is post metal at times, but the only part I would describe as post metal to someone else would the the opening track. Other stuff to note is the common usage of the pedal steel guitar and the album's theme. The theme details the fact that humanity is causing the sixth mass extinction, while the five previous mass extinctions were caused by natural causes. There are no lyrics, the music is entirely instrumental, so the theme is expressed through audio samples and the long, poetic song titles.

Musically, Red Sparrowes is impressive. The beautiful wall of sound created by the guitars is enjoyable, and the somewhat serene songs make for perfect songs to back up studying, reading, or just chilling out with friends. I recommend this album for both post metal and post rock fans, as they will both find something to enjoy from this record.

 To Be Kind by SWANS album cover Studio Album, 2014
3.97 | 207 ratings

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To Be Kind
Swans Post Rock/Math rock

Review by Artik

5 stars Frankly? I don't know why this band is here. I just don't get it. But I love them to death and this album is a masterpiece, no matter what genre and I rate it as such. This is tripple lp (I have it on vinyl) and it's so intense, so manic that it gets as close as possible to their unbelievable, cathartic live performances. Those repetitions, those layers and layers of sound, and not least - Gira's voice. Love it absolutely and unconditionaly. It's a rare thing when a band rather late in their career puts out releases as good as those in their prime. And with Swans it's a rule not an exception. All their recent records are amazing, but this is probably my favorite from their 2010-now (2021) incarnation.
 Hurmos by VIRTA album cover Studio Album, 2016
5.00 | 1 ratings

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Hurmos
Virta Post Rock/Math rock

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

— First review of this album —
5 stars Another super-promising diverse post-rock new wave from Finland. VIRTA were founded as an experimental trio in Helsinki for launching post-rock blended with jazz, electronic, or ambient. This opus "Hurmos" was released in 2016 as their second full-length album, which features full of various, colourful appearances of musical collective. Recently it's true that lots of wonderful combos or projects are in Finnish post rock / psychedelic progressive scene, and such a fantastic act have added a bright contribution into the Finnish rock dictionary.

Actually I don't like to write a comment for every single track in an album, but it would be good for me to do so this time because of their musical diversity and eclecticism. The great departure "Aallot" has complicated but impressive electronic dissipative structure and sensitive and sensual long-acting ambience. Enough for the audience to get immersed into the stuff straightforwardly. And the following heroic action "About To Fly" involves wondrous catchy but slightly infernal melody lines and trumpet-oriented jazz-coloured disclosure. Non-simplified trumpet play reminds me of sorta homage for Herb Alpert or so. The instrumental song itself is quite cool and dry, but we cannot avoid feeling massive passion in it.

In "Time Travel" are lots of constructive features e.g. mysterious atmospheric electronika, mourning guitar fuzzes, complex rhythmic structure. This track will let us enjoy traveling abroad or in another dimension under such a tough situation. "Härmä" can be called as a kind of post-rock-textured free jazz drenched in electronic weirdness. But why doesn't it catch our heart violently? A mixture of drastic offensive approaches and listener-friendly pop essence is superb. On the other hand, cute percussive synthesizer plays and catchy heartwarming melodic fantasy are dancing on "The Landing" wonderland.

"Uni" is a slowtempo, crazy downer calm, but enthusiastic one, featuring dry-fruity trumpet acceleration and dissonant guitar exclamation. This tricky combination should be pretty impressive, innovative. On the contrary, the last spurt "On The Run" is ultimately an uptempo, delightful, and explosive epilogue. Slightly exaggerating but clear, edgy synthesizer-oriented sound crystals are fine and delicious. Such a powerful, energetic creativity definitely encourages us.

Finally let me say that it would be a shame I have not known such a fascinating creation for about five years. Highly recommended yes.

 Tiny Fragments by TANGLED THOUGHTS OF LEAVING album cover Singles/EPs/Fan Club/Promo, 2008
3.28 | 7 ratings

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Tiny Fragments
Tangled Thoughts Of Leaving Post Rock/Math rock

Review by Gallifrey

4 stars Listening diary 14th August 2021: Tangled Thoughts of Leaving - Tiny Fragments (progressive post-rock/metal, 2008)

Tangled Thoughts of Leaving's maiden voyage is an interesting origin story - there are sounds on this release that would never really reappear on the band's later work, but also within is an unmistakable blueprint for the sound they would later develop. In my opinion, these guys are the absolutely pinnacle of modern instrumental post-rock, and are one of the most creative acts in the world in any genre. This EP is notable, because it's not instrumental, and for a lot of it, it's not rock - savage bursts of prog metal riffing punctuate the band's post-driven aura with frequency never heard later on. But despite this, the incredibly creative use of piano, avant-prog structures and modern classical composition with in a post- rock framework is definitely here early on. Not quite as refined as their later masterpieces, but an interesting addition to a great catalogue.

7.3 (5th listen)

Part of my listening diary from my facebook music blog - www.facebook.com/TheExoskeletalJunction

 Maa Antaa Yön Vaientaa by HORTE album cover Studio Album, 2021
4.90 | 2 ratings

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Maa Antaa Yön Vaientaa
Horte Post Rock/Math rock

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

5 stars Traditional good taste and catchy atmosphere created by HORTE should be maintained and additionally be seasoned with more desert-y dissonant flavour than the previous creation. In the very hot summer (maybe all around the world, owing to greenhouse emissions) in 2021, and under such a terrible pandemic situation, a Finnish post-rock act HORTE's third album was released to catch the hearts of Finnish progressive rock fans. Also in "Maa Antaa Yön Vaientaa" (in English, it means 'Earth Gives The Night Silence' ... what a meaningful, expressive, and suggestive phrase really) it sounds like HORTE would carry out their strong original intention of their post-rock interpretation. All around the opus, something sensitive, sensual, fascinating, addictive are dominant. And they never forget they stress dizzy, fuzzy sound metamorphism like a toxic love potion. Basically their musical mainstream is sorta slowtempo ambient dissonance, but their mystic melody lines and soft, smooth, and soothing voices are pretty impressive and innovative. It's definitely no exaggeration for us to claim this album has energy and power superior to their previous albums.

The first track "Pelko Karistaa Järjen" is kind of serious stuff full of ambient dissection and stickily repetitive melodic recognition. Under a dark sky and a tough circumstance, they would be pushing serious current reality into our inner mind. Something fearful can be felt via this entire track, but also a dreamy future may be seen. In "Ilman Nurkka" we touch more relaxing flavour regardless of slight upbeat catchy scape. Percussive synthesizer sounds are comfortable, and their chorus is dry-fruity like Krautrock but quite delightful and flavourful. On an instability and anxiety hard to express, the following one "Kilpemme" solidifies the guard around us. The middle part filled with loud, confusing sound unification is beyond expression. Wondering why they can launch such a stability with musical dissection. Anyway it's problematic too for us to get a bunch of inorganic light. "Valoa On Liikaa" would say that people all over the world want to live safe and sound I imagine? "Kun Joki Haihtuu" reminds us of the similarity to their first shot "Viimeinen Linja" but more of flatness and simplicity this possesses. Sounds like they deliver simple but important messages for us based upon such a plain melodic turf, I cannot understand Finnish though. The last "Konttaa, Ne Konttaa II" shows a tough, unclear near future under unsettled, disquieting 'political and infectious' situations, fully by dry scorching, potential ambience.

One last mention: surprisingly the sixth launcher "Väisty Tieltä" gets into the darkest, deepest, heaviest structure all over their creations, amongst their authentic calm moments. This seven minute song involves almost all of their excellent intentional invitations to another post dimension. My love.

 A Colores by TRISTEZA album cover Studio Album, 2005
3.83 | 5 ratings

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A Colores
Tristeza Post Rock/Math rock

Review by Lewian
Prog Reviewer

4 stars This is a very beautiful, relaxed, and melodic instrumental post rock album. It's surely not on the psychedelic/Kraut influenced side of post rock, only very occasionally we get some of the typical post rock crescendo parts, although it's not without dynamic. Composition takes the driver's seat here, there's very little if any improvisation, but still it all sounds playful and effortless. The sound is dominated by melodic guitar and keyboard, mostly a mellow e-piano. The drumming and bass playing is tasteful but clearly in the background, which fits the music well (I'm normally a fan of robust mixes with a strong rhythm section but I have no complaints here). Generally the musicality is very strong. Everything works well together (the melodic interplay between keyboard and guitar is outstanding at times) and there are no ego trips. While melody and mood are central, there are some progressive elements. There are some nonstandard time signatures, made to sound easy and natural, compositional sophistication in a good number of songs, and the odd fun sound experimentation in the beginning of a few tracks. Most material is mid tempo except the odd acceleration or slow part.

This is a very pleasant album with enough sophistication and variation to be interesting, despite it all sounding very organic. Although everything fits well together and the album overall is a very good listen, there's a certain variation in the quality of the tracks; we get some wonderful moments of magic (Halo Heads, Liquid Pyramids, Palindrome Dome) and some tracks that are good but not that special and memorable. The opener Abrazo Distante is fine but not among the top three of the album, and tracks 2 and 3 are rather of the latter class, so the album may be underestimated when test listening from the beginning. Give it some time to take shape and develop toward the real highlights! 4.0 stars.

 Vestiges by SAIREN album cover Studio Album, 2020
4.00 | 1 ratings

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Vestiges
Sairen Post Rock/Math rock

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

— First review of this album —
4 stars Another amaze from France. A multi-instrumentalist SAIREN has released creations since 2015. This album "Vestiges" was out in November 2020, featuring material composed between 2019 and 2020, for launching the audience his apparent intention to create dark but hopeful post-rock. Anyway his musical strategy is not straightforward but full of skew variety. Do not make a big mistake if we get kinda orthodox alternative post rock sounds, but this variety in his entire soundscape impresses us definitely. It's said he has been inspired by rock, metal, baroque, romantic, or classical. It makes sense just when we touch his opus, I'm sure. Yes it's well understood that his creation is not constrained by any single musical genre via this album.

We can grab this fact around his musical attitude especially through the third track "Insecte". This one features melodic verve to remind us of delightful Austrian / German Baroque or Chopin's Piano Concerto #1 (a good example is the strong, enthusiastic one played by Hiroko Nakamura) in the former part and simultaneously dark depressive distortion madness like 90s alternative hard rock in the latter. But basically his sound basis should be post-rock / post- metal. The departure "Sacrificiel" gets started with deadly challenging, powerful access to progressive rock world. Unharmonized melodic deviation in the middle part is crazy amazing. Such an innovative movement should absorb us. Additionally, it's also good that there is something delicate and somewhat sensual in his musical methodology.

The following stuff "Inévitable" involves a pretty mystic atmosphere and authentic post-rock evidence here and there. Not so metallic but energetic blows we can feel all through the track. In "Le Négatif Des Apparences" we can enjoy so- called negative flows and vibes in the vein like Schubert's Piano Sonata D. 959 The 2nd Movement mixed with deeply heavy aromatic tones like Phil Spector. "V'empire" sounds like Alice In Chains meet Dream Theater, drenched in disharmonized anti-melodic dissection. What a wonder. Mysterious electronic wonderland (and one of my favourite songs in this opus) is the seventh "Interlude", followed by the epilogue "Radicalité Des Temps Derniers" that has various appearances - fuzzy loud-y attacks, sensitive romantika, and ultimate post operation for authenticity of rock, namely aggressive challenges. Honestly to say, both post-rock and post-metal fans should give a listen to this fascinating creation.

 Lift Your Skinny Fists Like Antennas to Heaven by GODSPEED YOU! BLACK EMPEROR album cover Studio Album, 2000
4.14 | 614 ratings

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

Review by Gorgut Muncher

5 stars If you look at the reviews of this album, you can quickly realize how divisive it is. While I think it's an irrefutable masterpiece and the best post-rock album ever made, some others think it's an eighty minute snoozefest. I think it all depends on the approach you give it, Godspeed You! Black Emperor really isn't a very accessible band and a record with four long, drone infested, atmospheric tracks wasn't going to appeal most classic prog rock fans who enjoy listening a Hammond keyboard wank for an entire album.

With that said, the importance of this album to this genre is monumental. I really can't say another post-rock record released before was as ambitious and bold as this one, and it influenced the genre by proclaiming itself as the most quintessential post-rock record. Lots of build ups, lots of droning, lots of atmospheric sections, lots of talked sections, no vocals, all the properties that can be heard in post-rock can be found in this album.

I understand if you don't like this record, but saying that it's a 1 or 2 star record is wrong considering how important it is to its genre. I'm giving it five stars because it is an essential record and because I absolutely love it.

 Ensemble Pearl by ENSEMBLE PEARL album cover Studio Album, 2013
3.05 | 2 ratings

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Ensemble Pearl
Ensemble Pearl Post Rock/Math rock

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

3 stars Ordinarily mentioned but it sounds like this album discharges their dark life and lifestyle in the past, present (in the year this album was released), and future. A multi-national one-off project ENSEMBLE PEARL released only one eponymous album related to their homeland Sunn O))) or Boris. Drenched in spacey / doomy / depressive / psychedelic ambience, their short story goes forward slowly but steadily. The four geniuses, who get inspired by lots of psychedelic / Kraut / electronic vanguards and already had walked through various combos, expressed their 'dark catastrophic fantasy' upon this creation in a fascinating manner. A kind of heavy, lengthy trip is quite tough to digest completely but we can enjoy their so-called kosmische musik launched from their inner minds.

The first jab "Ghost Palade" is pretty sensational. Repetitive schizophrenic attacks only with two keys (!) should catch the heart of the doom freaks. Too sticky and slimy for the first shot but the viscosity is also good I guess. A similar vein to Domo or Perizona can be found through this track. "Painting On A Corpse" or "Giant" is veiled in dissected harmonies and exaggerated sound environments. Feel free to jump into them. We can be filled with their infernal noises, that also give us some mysterious comfort. "Island Epiphany", not sure what the title says, involves complicated oscillation and slowtempo psychic-agents-ish mind-driven movement. Great feedback by the twin guitars reminds us of the similarity to Les Rallizes Denudes, and dreamy ambient drumming takes us into another dimension. No need to consider deeply but better for us simply to follow the sound horizon created by them. The last "Sexy Angle" is not sensual at all but addictive hallucinogenic niches we can find out via the longest, slowest, darkest improvisational propaganda. Not so strong nor impressive but full of charm and magic.

To be honest, not novel nor innovative this opus is (even in 2013), but we can say this should have been produced fully with their sincere mental condition and playful minds. I feel so ... but it's slightly tough for me to listen to this album repeatedly haha.

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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
AI Italy
AIMING FOR ENRIKE Norway
AIUA United States
AL SABO United States
ALARMIST Ireland
ALBINOBEACH South Africa
THE ALBUM LEAF United States
ALFHEIMR United States
ALL ANGELS GONE France
ALL INDIA RADIO Australia
ALL WILL BE QUIET Finland
ALL YOU'VE SEEN Switzerland
THE ALLSTAR PROJECT Portugal
ALPHA MALE TEA PARTY United Kingdom
ALRIGHT THE CAPTAIN United Kingdom
AM FOST LA MUNTE SI MI-A PLACUT Romania
AMBIENTE Mexico
THE AMERICAN DOLLAR United States
ANA NEVER Serbia
ANALECTA United States
ANATHEME France
ANCIENTS Multi-National
AND SO I WATCH YOU FROM AFAR United Kingdom
AND STARS COLLIDE United Kingdom
ANOICE Japan
ANTARCTIC United States
THE ANTARCTICANS United States
ANTENNAS TO HEAVEN United Kingdom
ANTETHIC Russia
ANTIER Spain
APRICOT RAIL Australia
APRIL RAIN Russia
ARAMID United States
ARBOR LIGHTS United Kingdom
ARCTIC PLATEAU Italy
ARMS OF TRIPOLI United States
ARROWAY France
ART.FICIAL Brazil
ARTIFICIAL WAVES Russia
AS THE POETS AFFIRM Canada
THE ASCENT OF EVEREST United States
ASTRALIA Spain
ASTRO SONIC Norway
ATSUKO CHIBA Canada
ATTILION Indonesia
AUDREY FALL Latvia
AUREA HYBRIDE Mexico
AUSTIN TV Mexico
AUTO!AUTOMATIC!! United States
AUTOMASSAGE Slovenia
AUTUMN MOONLIGHT Argentina
THE AUTUMN PROJECT United States
AXES United Kingdom
BAFFODORO Italy
GABRIEL BAKER United States
BALMORHEA United States
THE BALTIC SEA United States
BANGLADEAFY United States
BARK PSYCHOSIS United Kingdom
THE BASEMENT PAINTINGS Canada
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
BODY HOUND United Kingdom
THE BODY LOVERS United States
BOHREN & DER CLUB OF GORE Germany
WES BORLAND United States
BOSCH'S WITH YOU Russia
BOXHEAD ENSEMBLE United States
BRAINBOW United States
BRASS KNUCKLE SURFER United States
BREADWINNER United States
BRONTIDE United Kingdom
BRONZE FAWN United States
THE BRONZED CHORUS United States
BROUGHTON'S RULES United States
BULLETS IN MADISON United States
THE BURNING SEA Australia
BY THE END OF TONIGHT United States
C Czech Republic
C'EST MORTEL United States
CADDYWHOMPUS United States
DAN CAINE United Kingdom
THE CALM BLUE SEA United States
CANYONSOFSTATIC United States
CARLOS DANGER United States
CARNENERA Italy
CARTA United States
CARTOGRAPHER Netherlands
CASPIAN United States
CAUDAL Germany
CAVALLO United States
CAVES OF STEEL Norway
CECILIA::EYES Belgium
CELESTIAL WOLVES Belgium
CHARTS AND MAPS United States
CHEVAL DE FRISE France
CHICAGO ODENSE ENSEMBLE Multi-National
CHILDSPEAK United States
CHON United States
CHOOSE YOUR OWN ADVENTURE United States
IL CIELO DI BAGDAD Italy
CINEMATIQUE Austria
CINEMECHANICA United States
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
COVET United States
CROMBIE United Kingdom
CUE United States
CUL DE SAC United States
CYANO Denmark
DARA Romania
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
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IF THESE TREES COULD TALK United States
ILYDAEN Belgium
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SGT. Japan
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A SHELTER IN THE DESERT Mexico
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A SILVER MT. ZION Canada
SIOUM United States
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SLOW SIX United States
(THE) SLOWEST RUNNER (IN ALL THE WORLD) United States
SOLKYRI Australia
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SONNÖV Spain
SOULS VIBRATING IN THE UNIVERSE United Kingdom
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SPACES United States
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SPURV Norway
STAR FK RADIUM United States
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STERLING United States
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STORMS Croatia
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STUBBORN TINY LIGHTS VS CLUSTERING DARKNESS FOREVER OK United States
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SWEEK Belgium
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SWIMS United States
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TÁLAMO Spain
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TAPE Sweden
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Japan
TENA NOVAK Croatia
TENEBRE United States
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TFVSJS China
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THIS IS A PROCESS OF A STILL LIFE United States
THIS IS YOUR CAPTAIN SPEAKING Australia
THIS WILL DESTROY YOU United States
SAM THOMAS United Kingdom
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TIERPARK Korea
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UFAJR Czech Republic
UI United States
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URSA Spain
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WADDLE France
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WE ALL INHERIT THE MOON United States
WE ARE KNIVES United Kingdom
WE BE THE ECHO United States
WE DESERVE THIS Germany
WE VS. DEATH Netherlands
WE'RE FROM JAPAN United States
WEARY EYES Russia
WHAT ALEPH SAID Switzerland
WHYOCEANS China
THE WINCHESTER CLUB United Kingdom
WOLVES IN ARAMID United States
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WORLD'S END GIRLFRIEND Japan
XMENOSUNO Mexico
YAWN HIC Russia
YAZYK DOZHDYA Russia
YEARS OF RICE AND SALT United Kingdom
YNDI HALDA United Kingdom
YOU ALREADY KNOW United Kingdom
YOU SLUT! United Kingdom
YOU.MAY.DIE.IN.THE.DESERT United States
YOUR TEN MOFO Austria
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YOUTHMOVIES United Kingdom
ZALEM France
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ZUKR France

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