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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

4.31 | 66 ratings
RANDOM AVENGER
Magyar Posse
4.27 | 71 ratings
CHILDREN OF GOD
Swans
4.14 | 514 ratings
ÁGÆTIS BYRJUN
Sigur Rós
4.13 | 522 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.25 | 48 ratings
FOR LONG TOMORROW
Toe
4.14 | 177 ratings
ENTER
Russian Circles
4.16 | 65 ratings
SOUNDTRACKS FOR THE BLIND
Swans
4.07 | 384 ratings
F# A# ∞
Godspeed You! Black Emperor
4.28 | 27 ratings
KING NINE
Blueneck
4.06 | 243 ratings
SHADOWS OF THE SUN
Ulver
4.50 | 13 ratings
DREAMS THAT COME A THING (PT I) - ...NEVER THOUGHT IT MAY SEEM...
Bosch's With You
4.17 | 42 ratings
PHANTASIA
Lite
4.17 | 42 ratings
THE COLLIBRO
Lis Er Stille (Liserstille)
4.06 | 134 ratings
ULVER & TROMSØ CHAMBER ORCHESTRA: MESSE I.X - VI.X
Ulver
4.34 | 18 ratings
HOW LONELY SITS THE CITY
Ascent Of Everest, The
4.07 | 83 ratings
CODENAME: DUSTSUCKER
Bark Psychosis
4.06 | 97 ratings
ONE TIME FOR ALL TIME
65DaysOfStatic
4.17 | 32 ratings
BEAUTIFUL
About Tess
4.07 | 76 ratings
THE EXTENT OF DAMAGE
Battlestations
4.04 | 131 ratings
IN A COLD EMBRACE
Battlestations

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

IN EVERYTHING GIVE THANKS
Tenebre
JINX
Kammerflimmer Kollektief
WIDOW
Day For Airstrikes
INVENTIONS FOR THE NEW SEASON
Maserati

Latest Post Rock/Math rock Music Reviews


 Ágætis Byrjun by SIGUR RÓS album cover Studio Album, 1999
4.14 | 514 ratings

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Ágætis Byrjun
Sigur Rós Post Rock/Math rock

Review by TCat
Prog Reviewer

5 stars This would be the album that would bring Sigur Ros out of obscurity not only in their own country of Iceland, but in the entire world. Hard to believe that a band that sings only in their native tongue and also in another made-up language would be so popular in America also, but this band proved that it can happen. This was only the band's 2nd full album, but it is so innovative and beautiful, so well produced, that you would swear these were well seasoned musicians. These feats in and of themselves tell a lot about the artists involved, but it is only a huge plus that this album is one of the most beautiful experiences in modern music today.

People like to compare them to Pink Floyd, but there is no comparison to any band. The techniques they use are unique, like using a cello bow on guitar strings and then adding reverb to create atmosphere. And this album is completely full of atmosphere and emotion. When I listen to it, I marvel how some of this music is even earthly possible. It approaches celestial status at times, lifting you above everything. It is also very immersive music in that to fully appreciate it, you have to immerse yourself and really listen. There is so much going on even at regular levels, but also in many underlying passages. But you don't have to always be immersed to hear it's beauty. For example, the 3rd track "Staralfer", when I first listened to this album, I was not really immersed into it, but the beauty of the orchestration and musicianship pulled me in instantly. Just as another reviewer has mentioned, this album can bring you to tears, and this is one track that does it. It's hard to believe that the topic of the track is a child's fairy tale about a staring elf, but that is why I think it is important that the lyrics can't be understood, because it leaves that track and every song by the band open to complete interpretation. You can paint your own pictures in your mind.

But, the amazingness of the music isn't just limited to that track. It starts off with an "intro" which is simply the title track (Number 8) played backwards. But it prepares you for "Svefn-g-englar" which is also a lovely song, where the lyrics are repeated often, but the lyrics and the vocals are just instruments in the entire band. The birthing process through the perspective of a new born is the topic of the song. The use of the bow on guitar strings is used well in this song to increase volume and emotion of the track. Then the beautiful and heavily orchestrated "Staralfer" comes next and words can't express the emotion in this track. I love how the orchestra builds while Jonsi sings and then just drops off to what sounds like an electric guitar that is not plugged in to an amp being strummed while he continues to sing. An interesting side note here is that the strings in this track are palandromic, or the same forward and backward. I also find the track " Hjartað Hamast (bamm Bamm Bamm)" extremely interesting and amazing, with totally unique sounds and textures, and at times copying the sound of a hammering heart, as is hinted in the title. Throughout the album, there is such an effective use of dynamics, and that is very relevant in this track.

"Viðrar Vel Til Loftárasa" is probably the closest song to a Pink Floyd type sound. It has a very long introduction which features a solo piano and an orchestra crescendo-ing and then a sliding guitar sound very reminiscent of Pink Floyd joins in very tastefully. Then vocals finally start, remaining somewhat subdued and far away this time, but the instruments still swell and ebb around the vocals. The effect is amazing. Then suddenly, there is that huge sound of the treated guitar and bow again, and it is joined by strings which eventually drown everything else out as it builds and tempo and pitch are sped up. Then it drops off suddenly and flows into the familiar drum beat and bass line of "Olsen Olsen". This is another beaut of a song. The far off voice starts sounding like Jonsi is singing from a distance, like from a distant canyon. And that flute melody that comes in from time to time is perfect. It gives the track a definite Celtic feel. When that melody comes back, it is played by the piano with strings chugging underneath, and then joined by the band and the orchestra and chorus. Love the jubilant feel of this one. As brass joins in, things get slightly disjointed and dissonant as it fades out. Before the track is over, you hear the flute far away in the distance. The title track is more acoustic sounding and is probably more of a traditional love ballad sound, but lovely nonetheless. There is still enough ingenuity in this track to keep it interesting. The song is fragile sounding, like it is likely to go wandering off into non-traditional territory at any time, but something continues to keep it restrained to it's boundaries. Everything is finished off with "Avalon", which is simply the strings section and the strumming section from "Staralfer" slowed down to about 1/4 of the original speed, and sounding rather muffled. It serves as an ambient ending to the album.

When you listen to this album, you can see why it was so well received everywhere in the world and also lauded by critics. It is an amazing album, which strongly proves that Progressive Rock is alive and well. This is a definite masterpiece, though it is not universally accepted by all prog-heads, there is no denying that if you let yourself into this music, that it is simply amazing. Some have a hard time liking it, but to some, the love for this music just comes naturally and others need time to listen to it seriously. This is a definite 5 star masterpiece, and in my own rating system, it even gets that very rare 6 star rating. Perfect.

 Astral Seasons by FOBIA INC album cover Studio Album, 2016
2.90 | 2 ratings

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Astral Seasons
Fobia Inc Post Rock/Math rock

Review by Windhawk
Special Collaborator Honorary Collaborator

3 stars Polish band FOBIA INC have apparently been around for a good few years, although actual and factual information about the band is extremely sparse, despite their many branched existence on the various stopping points of the internet. "Astral Seasons" is their debut album, and was released through Polish label Green Lungs Records in 2016.

If you know and love your instrumental post-rock, complete with occasional dips into darker and harder metal riff oriented parts for added depth and intensity, Fobia Inc. have crafted a good, quality album that merits a check at some point. While I do not think that this production will appeal strongly outside of this audience base, those inside it should find this production to be a good, quality addition to their collections.

 Idejala! ...esta Triste by RETROVERTIGO album cover Studio Album, 2005
2.91 | 2 ratings

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Idejala! ...esta Triste
Retrovertigo Post Rock/Math rock

Review by TenYearsAfter

3 stars "FIRST REVIEW OF THIS ALBUM"

Many years ago I did an interview with French progrock label Musea, very nice and prog dedicated people. The Musea crew told me that they are almost daily flooded by promo material from a wide range of prog bands, from all over the world. And they do their ultimate best to take all seriously, and that's how Musea stumbled upon four piece Venezuelan prog band Retrovertigo, formed in 2002. An interesting and friendly meeting between Latin-America and Europe, emphasizing the increasing amount of quality prog from that area in the last two decades (from Nexus, Amagrama, Bauer and Astralis to Angulart, Loch Ness, William Gray, Supay, Redd and Spin XXI, to name a few).

In general Retrovertigo their music is pretty dark and guitar-oriented featuring lots of slow rhythms, atmospheric climates and fragile guitarwork. The influences range from Landberk, King Crimson (Discipline-era) to Coldplay, Nirvana and U2. My highlights.

La Esperanzadora : soaring keyboards and beautiful electric guitarsound.

Mi Dulce Y Enferma Vivana Vivana : great interplay between fiery electric guitar and propulsive drums.

And the tiltetrack : warm vocals and intense electric guitarplay.

To me this album sounds as a wonderful attempt to make varied prog, with a strong emotional undertone.

My rating: 3,5 star.

 Hvarf / Heim by SIGUR RÓS album cover Boxset/Compilation, 2007
3.53 | 48 ratings

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Hvarf / Heim
Sigur Rós Post Rock/Math rock

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

3 stars Between the two albums 'Takk...'' and 'Með suð í eyrum við spilum endalaust,' the Icelandic post-rock band SIGUR RÓS released this double disc album titled HVARF / HEIM which some sources seem to list as a compilation and others as a bona fide album release. Disc one - HVARF contains three unreleased tracks, the track 'Von' from the debut album as well as the track 'Hafsól' which was originally only available as the B-side of 'Hoppípolla" from 'Takk...'' Disc two - HEIM is a set of six live acoustic versions of tracks that were presented on the documentary 'Heima' which presented SIGUR RÓS's tour around Iceland in the summer of 2006. Of these six live performances, 'Von' is included as well making it appear twice on this release. Although they are live performances, it is impossible to tell that they are so since there is no audience noise participation and sound as polished as any studio release. The tracks are taken from the albums '( ),' 'Á'gætis byrjun,' 'Takk..'' and 'Von.'

Like their bona fide studio albums, HVARF / HEIM was very successful all across Europe and with the independent crowds in the US. This Icelandic act delivers the expected journey into the frosty cold post-rock journeys that they have always been known for but the albums comes across as a more chilled and laid back affair sounding most like the ''g'tis byrjun' album with sensual airy keyboard runs accentuated by Jón ''Þór " Jónsi" Birgisson's ethereal falsettos (in Icelandic) accompanied by bass and drums. In other words, the band performs just as expected without any deviations from the norm. The chord patterns and floating cloud atmospheres lollygag leisurely through the friendly skies while mid-tempo beats prance about like lucid pegasus ponies on a lazy afternoon and none of the unreleased would sound the least bit out of place on any of the albums prior. And unfortunately they fail to craft distinct identities from the other.

Soundtracks have to work double duty to win me over. They were created exclusively for accompanying the visuals and commentary that fits into a bigger scheme of things as background music for a film or documentary but often soundtrack music doesn't have the gusto to pull off unaccompanied listening alone and such is the case with HVARF / HEIM for me. The fragility of SIGUR RÓS' sound is like that of an eggshell and one tiny crack and the whole system fails. While carefully crafted albums work beautifully even the less loved debut 'Von,' random track offerings such as HVARF / HEIM just seem a little lackluster as the tracks just aimlessly float by without the context of the visuals that they were designed to augment. Overall there isn't enough to win me over on this compilation and / or album. It's not that this isn't pleasant music in the least and any hardcore fans will surely want to own this one, however it's just not one that draws me in for repeated listens and lacks the distinct charm that albums like 'Takk...' so successfully employed. The unreleased tracks are the more interesting ones.

 Achromata by AESTHESYS album cover Studio Album, 2018
4.08 | 7 ratings

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Achromata
Aesthesys Post Rock/Math rock

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars High quality classically-influenced jazzy Post Rock from Russia!

1. "Grauer Wald" (5:17) great insistent keys and rhythm section behind lead violin. Burst at 2:35 into full force but then takes a long time to do anything more dramatic. (I kept waiting for the violin or somebody to really take off, but it never happened.) (9/10)

2. "Filis Aureis" (4:26) my least favorite song on the album, just too dull and repetitive. (8/10)

3. "Marea" (5:16) opens like a very familiar Post Rock song from either GOD IS AN ASTRONAUT or MONO. Building, the drumming gets a little annoying, before a break at 2:30 allows a neat little "hammered dulcimer" section to unfold. Slowly drums, piano, guitar, and violin join in and build to a MONO-like crescendo at the end. (9.5/10)

4. "Himmelbarn" (7:10) again opening with riffs familiar from other Post Rock songs (EXPLOSIONS IN THE SKY come to mind), the song soon shifts gears into a more jazz-classically challenging section before everything quiets down at 2:07 into a peaceful mellow reset and start over. The soundscape begins to expand in the fourth minute as violin joins the guitars, drums and bass. Then, at 4:07, another shift into that higher octane rapido section recurs with heavy guitars power-strumming away while the violin tries to stay afloat above the turbulence. (9/10)

5. "Melanocardia" (6:33) too repetitive, getting stuck in one gear for about two minutes in the middle with absolutely nothing new happening but fast driving chord striking, and then the follow up is rather anticlimactic. (7.5/10)

6. "Sapatha" (5:39) drums and keys are the key to the success of this one. (9.5/10)

7. "Apogeion" (6:22) agains drums, piano, and bass make this such a solid foundation upon which to build and soar. (9.5/10)

8. "Eosfyllon" (5:44) starts slow and quiet before ramping up into a wonderfully melodic and varied song. (9/10)

4.5 stars; a near-masterpiece of progressive rock music.

 Euphoric by FIERCE & THE DEAD, THE album cover Studio Album, 2018
4.95 | 3 ratings

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Euphoric
The Fierce & The Dead Post Rock/Math rock

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars And so, the accidental band are back. Originally destined to be Matt Stevens' second solo album, TFATD have morphed into possibly the most important instrumental rock act in the UK today. Comprising Matt (guitar, synth, piano), Kev Feazey (bass, programming, synth, percussion), Steve Cleaton (guitar, piano) and Stuart Marshall (drums, percussion) they have gained an amazing following (The Fierce Army) over the last few years, due in no small part to be a great live act who have found new fans wherever they have played. They can often be found playing with their mates Hawkwind, and gained huge kudos from their gig last year with Monkey3 at The Borderline.

Here they are back with their third studio album, which follows on from 2013's 'Spooky Action' (they released the live 'Field Recordings' last year). It is incredibly hard to categorise their sound as it comprises elements from post rock, math rock, space, rock, prog and hard rock all thrown into a metallic melting pot. There are times when it feels that the band are just bouncing ideas off each other in the studio, jamming live, when at others it feels slightly more structured but whatever they are doing it always contains a mighty groove that makes the listener to move along to the music. Due to the small matter of geography I have never seen the guys play (they formed four years after I moved to the other side of the world), which I know is very much my loss, as while this is a great album I know that in concert it will be turned into something that is quite another level.

TFATD have stayed true to their roots to this album, and that the mainstream is starting to embrace them has far more to do with the rest of the world coming to grips with how good they are as opposed any 'selling out'. This is an incredibly easy album to listen to, although with the distorted riffs sweeping through my brain I could never call them easy listening. This could well be the album that breaks them through to the big time, and it will be richly deserved. If you haven't come across them before this, now is the time.

 Nattens Madrigal - Aatte Hymne Til Ulven I Manden by ULVER album cover Studio Album, 1997
3.11 | 96 ratings

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Nattens Madrigal - Aatte Hymne Til Ulven I Manden
Ulver Post Rock/Math rock

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

4 stars While ULVER (Norwegian for "wolves") has become synonymous with eclectic genre jumping between albums like virtually no other band in history of recorded music, in the beginning they at least attempted to create a series of albums in their "Black Metal Trilogie" which began with 1994's "Bergtatt - Et Eeventyr I 5 Capitler." However despite the supposed "black metal" part of the equation, even on their sophomore album, the wiley wolfy ones were pulling the old switcheroo by performing their second album in the metal- free zone of the dark Norwegian folk drenched "Kvelssanger." For their third album they make a reprise and finish out the trilogy by bringing the black metal back to the forefront and on NATTENS MADRIGAL - AATTE HYMNE TIL ULVEN I MANDEN (translated from Norwegian as "Madrigal Of The Night ? Eight Hymns To The Wolf In Man"), not only do they recapitulate the full fury of the debut but unleash the full fury of caustic black metal which races along like wolf pursued prey fleeing for its very life.

While the three albums are connected thematically, NATTENS MADRIGAL was the band's international debut and most likely the first taste of the Norwegian wolf pack by the majority of the planet. The third installment of the trilogy is a concept that revolves around tales of the dark side of humanity that uses metaphors in the form of wolves in the moonlit night as depicted by the cover art. The album was recorded immediately after "Bergtatt" with no specific timeline for release but as the band got signed by Century Media in the late 90s, vocalist Kristoffer Rygg who is credited as Garm states that the band wanted to unleash their most abrasive and venomous attempt on second wave black metal as their international debut not only as a guidepost for their involvement in the early scene but also as a final farewell before they moved out of the black metal scene entirely. There was also a little shock value involved to freak out their new label as well.

NATTENS MADRIGAL is a relentless beast despite calm surreal interludes that incorporate ambient, industrial and other pacifying sounds. While these sounds are plentiful, they merely punctuate the main compositions that exude an overall abrasive and caustic second wave metal attack with adrenaline fueled blastbeasts, searing buzzsaw guitar riffs and lo-fi production that banishes the bass into Hades. As typical for the day, the din is fortified with vile, angry raspy shouted vocals typical of Darkthrone, Mayhem, Marduk and other similar second wavers of the 90s Scandinavian black metal scene. While the lo-fi aspects of NATTENS MADRIGAL are quite similar to the majority of over-adrenalized 90s black metal, ULVER excels in composing tight melodic constructs which at times such as in "Hymn I: Of Wolf And Fear" breaks out of the super aggressive mode and converts into melodic classical guitar with modern production before descending into the lo-fi hellfire pits once again.

While on the surface NATTENS MADRIGAL seems like a typical 90s black metal release, however it is in fact an interesting closer in their "Black Metal Trilogie" as it eschews the atmospheric and folk touches that the debut "Bergtatt" utilized and opts for a more primeval raw and angry evil as [%*!#] sort of sound. While the fans of the day never could have predicted that after such an energetic and unrelenting display of black metal fury that constitutes the third and final installment of the trilogy, the clues as to where ULVER would take their next journey lay in the cracks between the caustic distortionfest. The ambient, industrial and psychedelic folk snippets between tracks would become the focus of the newer chapters of ULVER's ever-changing journey. While i can't say that i wish ULVER would have stuck to their black metal roots because so many other band's were jumping on the bandwagon, i also cannot say that i don't love the hell out of the early black metal albums that ULVER conjured up. On this one, they not only somehow managed to create beautiful melodies beneath the unbounded brutality but seeded the blueprint of their future musical adventures. NATTENS MADRIGAL is a satisfying adrenalized high octane 90s black metal release fortified with cool electronic embellishments.

 Slow Riot For New Zero Kanada E.P. by GODSPEED YOU! BLACK EMPEROR album cover Singles/EPs/Fan Club/Promo, 1999
4.41 | 184 ratings

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Slow Riot For New Zero Kanada E.P.
Godspeed You! Black Emperor Post Rock/Math rock

Review by raigor

4 stars "Slow Riot For New Zero Kanada" is the first EP release from the Canadian experimental musical collective GODSPEED YOU! BLACK EMPEROR. It was released in 1999 on vinyl by the Montreal-based record label Constellation Records and on CD by the Chicago-based Kranky Records.

The disc, clocking in at approximately 29 minutes, features two long instrumental compositions: 11-minute "Moya" and 18-minute "BBF3". The former is dedicated to the band's founding member Mike Moya who left the ensemble in 2008. In fact, this is a sort of re-working "Symphony No. 3" by Henryk Gorecki, a Polish composer of contemporary classical music (that's why it is sometimes mentioned in the concert setlists as "Gorecki"). The latter refers to the vox pop interviewee going by the name of "Blaise Bailey Finnegan III" whose eccentric ramblings form the core of the song. Finnegan recites a poem which he claims to have written himself. But in fact, the poem is mostly composed of lyrics from the song "Virus" by Iron Maiden that were written by their then-vocalist Blaze Bayley. Both tracks are just superb and can be referred as "classics" of GY!BE from their first period.

Interesting facts for collectors: The cardboard album case opens in the opposite direction of a conventional CD case; this is due to the Hebrew text being read from right to left. The front of the album contains Hebrew characters, in transliterated form, "Tohu VaVohu" (Formless and Empty). This phrase is from both Genesis 1:2 and Jeremiah 4:23, the former to describe the Earth before God separated light from dark and the latter to describe the Earth after the Lord's Day.

 As Seen Through Windows by BELL ORCHESTRE album cover Studio Album, 2009
4.00 | 10 ratings

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As Seen Through Windows
Bell Orchestre Post Rock/Math rock

Review by raigor

4 stars "As Seen Through Windows" is the second album of the Montreal based instrumental ensemble BELL ORCHESTRE. And it holds true to the local stage penchant for electroacoustic cinematic experimentation with melodic lines covered up by atonal slabs, electronics mixed with organic chamber-rock, post-jazz, and brass orchestrated neoclassic.

This album is full of inventive ideas and blends compositional, improvised, and textural music together in a very specific and imaginative soundscape. The production is top-notch punctuating every sonic aspect of the performance. BELL ORCHESTRE imbue each track with strangely beautiful surrealistic playfulness - and this is what makes their second album so enjoyable for a open minded listener.

This is rewarding and definitely recommended work for those willing to discover new deviant forms and contents of modern instrumental music.

 Inmost Dens Of Emilie by WHYOCEANS album cover Studio Album, 2017
4.00 | 1 ratings

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Inmost Dens Of Emilie
WhyOceans Post Rock/Math rock

Review by Finnforest
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars A truly gorgeous second effort

WhyOceans have been around since 2005 and remain one of my favorite instrumental rock bands. Their second release, "Inmost Dens of Emilie," is described as "six stories from six scenes with the same origin," and was recorded primarily in Hong Kong.

While "post-rock" is often ignored by many prog rock fans for being too sleepy or one-dimensional, I've always went out of my way to notice and listen. This is a style of music that shoots down musical instant gratification, aiming instead for what I consider the more emotional receptors in our being. We cannot latch onto the vocal hook or hide in the instant thrills available with more direct rock and roll tools. Instead we are dealing with music that almost commands personal introspection. At the same time, while WhyOceans will also employ some of the narcotic dives and swells so often associated with some of the original post-rock bands, there is much more happening here in the subsets of pastoral beauty, technology, storytelling, and visuals. This is one "post-rock band" more than suitable for active, engaged listening. One should not consider it background music.

Not only is their music cinematic, but the band has mastered the art of video as well. Their video for "Transparent People" is as professional and, more importantly, as breathtaking as 90s European eye-candy films I used to enjoy. Vibrancy, confusion, youth, death, innocence, suffocation, wonder, beauty -- so many adjectives spring to mind while watching it. I'm not that big on video outside of live performance, but this one was completely enjoyable.

On to the album, I love the way piano, flute, and strings are incorporated into the album, often given their own space to shine unaccompanied by the rock instruments, including through the entire beautifully melancholic first track -- a stunning opener that draws you in. These moments, along with some ambient sounds like waves or birds, serve to give the album additional color and personality. When the full band finally arrives nearly halfway through the second number, even then they do so with a light touch at first. Then the layers start to unfold, each member building step by step with exemplary playing and attention to technique, especially noticeable in the some of the guitar warbling and drumming sustain/ring. But beyond the instrument choices and playing techniques, what matters is whether the songs connect with you emotionally and are interesting enough for repeated plays. Big slam dunk on both counts for this listener. The changes in the title track alone, from full, heavy rocking to suddenly veering to a hauntingly quiet melody on a piano are simply breathtaking. It's all so beautifully planned out, nothing sounds forced, but rather like carefully written stories.

So while in some respects, "Emilie" is not radically different from the original hallmarks of the genre they are considered, it is done with such command and beauty that it impresses from start to finish. Another reviewer commented that post-rock has been in descent recently, but that WhyOceans is one band bucking that trend because they are clearly rising. I couldn't agree more with the second part of that thought. WhyOceans have now fully realized their creative talents. "So we start our night" is what they say when they begin another evening of rehearsing, writing, and crafting their sound. This is a band that has been working very hard for many years, not only on this album but on their live sound and visual presentations as well. They have put in the long hours it takes to craft a release like this.

My suggestion is that folks forget about the post-rock label and instead, approach this recording as the fine piece of instrumental rock that it is.

Data cached

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 SHELTER IN THE DESERT Mexico
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
ALRIGHT THE CAPTAIN United Kingdom
AMBIENTE Mexico
THE AMERICAN DOLLAR United States
AN ORDINARY VISION Italy
ANA NEVER Serbia
ANALECTA United States
ANATHEME France
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
THE ANTONI TASHEV PROJECT Bulgaria
APRICOT RAIL Australia
APRIL RAIN Russia
ARAMID United States
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
BIRDS OF FIRE United States
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
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
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
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
COLLAPSE UNDER THE EMPIRE Germany
CONCENTRIC United States
THE CONQUERING LIGHT OF FLORA AND FAUNA Denmark
COPTIC LIGHT United States
CROMBIE United Kingdom
CUE United States
CUL DE SAC United States
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
DIANOGAH United States
DICK HUDSON Italy
DIETRICH Argentina
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
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
EL RUPE Portugal
ELLIS THE VACUUMCHILD Sweden
ELOHYMN United Kingdom
EMPHASIS Croatia
EMPTY SILOS ECHO WAR United States
EN PLEIN AIR Italy
ENABLERS 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
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
GO RUN DONKEY HOT! Croatia
GOD IS AN ASTRONAUT Ireland
GODSPEED YOU! BLACK EMPEROR Canada
GOONIES NEVER SAY DIE United Kingdom
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
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
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
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
KAMMERFLIMMER KOLLEKTIEF Germany
KEPZELT VAROS Hungary
KERMIT Spain
KERRETTA New Zealand
KILLINGTON FALL United Kingdom
KIMIKA Canada
KINDER Peru
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 GRAN PERDIDA DE ENERGIA Argentina
LA MAR Venezuela
LABIRINTO Brazil
LABRADFORD United States
THE LADIES United States
LARSEN Italy
LAURA Australia
LAZONA Italy
LEBANON Israel
LEECH Switzerland
LET AIRPLANES CIRCLE OVERHEAD United Kingdom
LIAM Germany
LIGHTS & MOTION Sweden
LIGHTS AT SEA United States
LIGHTS OUT ASIA United States
LIKE BELLS United States
LIKE NOMADS United States
A LILY United Kingdom
LIMP Denmark
LINDA MARTINI Portugal
LIS ER STILLE (LISERSTILLE) Denmark
LITE Japan
LO' THERE DO I SEE MY BROTHER United States
LONG DISTANCE CALLING Germany
LOOSE LIPS SINK SHIPS United States
LORAINE United States
LOSS OF A CHILD United Kingdom
LOST IN THE RIOTS United Kingdom
LOST REVERIE Mexico
LOTTO Poland
LOVELY GIRLS ARE BLIND France
LOWERCASE NOISES United States
THE LUNA MOTH United States
LUNAR Croatia
LUZPARÍS Argentina
LYMBYC SYSTYM United States
MAGYAR POSSE Finland
MAN MOUNTAIN United States
MAN ZERO Croatia
MAPS United States
MAPS & ATLASES United States
MARRIAGES United States
MASERATI United States
MAYBESHEWILL United Kingdom
MEANWHILE BACK IN COMMUNIST RUSSIA United Kingdom
MEET ME IN ST. LOUIS United Kingdom
THE MERCURY PROGRAM United States
MESCALINER Netherlands
METALLIC TASTE OF BLOOD Multi-National
MIAOU Japan
MIGALA Spain
MILHAVEN Germany
MINIMUS Portugal
MINIONTV United Kingdom
MIRROR Japan
MOGWAI United Kingdom
MØN 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
LA MUNECA DE SAL Spain
MY BELOVED Denmark
MY DAD VS YOURS Canada
MY EDUCATION United States
NEGEV United Kingdom
NEIL ON IMPRESSION Italy
NEW CENTURY CLASSICS Poland
A NEW SILENT CORPORATION Italy
NEWSPAPERFLYHUNTING Poland
NICE WINGS ICARUS! Ukraine
NO ONE WISHED TO SETTLE HERE Poland
NOMADS United States
NOVA SCOTIA United Kingdom
NUITO Japan
O'BROTHER United States
O.RANG (.O.RANG) United Kingdom
OAQK Japan
OBSTACLES Denmark
OCEANIC Canada
ODDARRANG Finland
OISEAUX - TEMPETE France
OKETO United States
OSHEAN Russia
OSTINATO United States
OVUM Japan
OXES United States
PAIK United States
PANTHER ATTACK United States
PARABSTRUSE United States
PAVING THE LABYRINTH South Africa
PAWA UP FIRST Canada
PEACH PIT Croatia
PELE United States
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
PORT-ROYAL Italy
PORTRAIT OF A DROWNED MAN United States
PREA HRADA Russia
PRECIOUS FATHERS Canada
PRESENCE OF SOUL Japan
PVT (PIVOT) Australia
QUALIA United Kingdom
O QUARTO FANTASMA Portugal
RADIO FREE ISAAC Croatia
RAISED BY SWANS Canada
RED ROOM CINEMA United States
RED SPAROWES United States
THE REDNECK MANIFESTO Ireland
REGA Japan
REMINDER Sweden
RESERVE DE MARCHE Russia
RETROVERTIGO Venezuela
RHONE United States
RIDING PÂNICO Portugal
RIDING THE DIPLODOC Russia
THE ROCK OF TRAVOLTA United Kingdom
ROCKET MINER United States
RODAN United States
ROSA PARKS Hungary
RUMAH SAKIT United States
RUSSIAN CIRCLES United States
SADDLEBACK Australia
SADGAYERS United States
SALARYMAN United States
SALVATORE Norway
THE SAMUEL JACKSON FIVE Norway
SARAX Chile
THE SATELITE Peru
SAVAGE LUCY South Africa
SAWHORSE United States
SAXON SHORE United States
SCIENCE IN THE CAVE United States
SCRAPS OF TAPE Sweden
SDNMT Germany
THE SEA LIKE LEAD United States
SEAWORTHY Australia
SEMIOSIS Romania
SENNEN Netherlands
SEPTEMBER MALEVOLENCE Sweden
SEQUENCE PULSE Japan
SET FIRE TO FLAMES Canada
SGT. Japan
SHALABI EFFECT Canada
SHAPES STARS MAKE United States
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
SLEEPMAKESWAVES Australia
SLEEPSTREAM Greece
SLOW SIX United States
(THE) SLOWEST RUNNER (IN ALL THE WORLD) United States
SOLKYRI Australia
SOMMA Russia
SONNA United States
SONNÖV Spain
SOULS VIBRATING IN THE UNIVERSE United Kingdom
SOUNDS LIKE THE END OF THE WORLD Poland
SOUVARIS United Kingdom
SOUVENIR'S YOUNG AMERICA United States
SPACES United States
SPARKLE IN GREY Italy
SPARROWS SWARM AND SING United States
SPEAKER GAIN TEARDROP Japan
SPURV Norway
STAR FK RADIUM United States
STARSCREAM United States
STEARICA Italy
STERLING United States
STORMS Croatia
THE STRANGE DEATH OF LIBERAL ENGLAND United Kingdom
STUBBORN TINY LIGHTS VS CLUSTERING DARKNESS FOREVER OK United States
SUMMER FADES AWAY China
SUNLIGHT ASCENDING United States
SWANS United States
SWEEK Belgium
SWEEP THE LEG JOHNNY United States
SWEET MOTHER LOGIC Canada
SWIMS United States
SWINGERS Belgium
SYBAX France
TAN FRIO EL VERANO Venezuela
TANGLED THOUGHTS OF LEAVING Australia
TARANTULA AD United States
TARENTEL United States
Japan
TENA NOVAK Croatia
TENEBRE United States
TERA MELOS United States
TERRAFORMATION United States
TERRAFORMER Belgium
THE BEAUTY THE WORLD MAKES US HOPE FOR France
THE BEST PESSIMIST Ukraine
THE END OF THE OCEAN United States
THE GLUTTON Norway
THE RETALIATION FOR WHAT THEY HAVE DONE TO US United States
THEM, ROARING TWENTIES United States
THESE MONSTERS United States
THETA NAUGHT United States
THINGS FALLING APART United States
THIS IS A PROCESS OF A STILL LIFE United States
THIS IS YOUR CAPTAIN SPEAKING Australia
THIS WILL DESTROY YOU United States
SAM THOMAS United Kingdom
THREE TRAPPED TIGERS United Kingdom
THREEMOVEMENTS United Kingdom
TIDES OF MAN United States
TIME COLUMNS United States
THE TIMEOUT DRAWER United States
TO DESTROY A CITY United States
TOE Japan
TOMAN Belgium
TONE United States
TORCH THE BRIDGE United States
TORNGAT Canada
TORTOISE United States
TOTORRO France
TRACER AMC Ireland
TRANSIT Belgium
TRANSMIGRANT United Kingdom
THE TRICKLE-DOWN EFFECT United States
TRICOT Japan
TRISTEZA United States
TUBER Greece
TULSA DRONE United States
TUNA LAGUNA Norway
TUNDRA LIGHTS United States
TUNTURIA Canada
TURING MACHINE United States
UFAJR Czech Republic
ULAN BATOR France
ULVER Norway
UNDER LANGUID LIGHTS Germany
UNLEARN United States
UNTIL SUNRISE United States
UNWED SAILOR United States
UP THERE: THE CLOUDS Italy
UP-C DOWN-C LEFT-C RIGHT-C ABC + START United Kingdom
URTHONA Japan
US ON ROOFS United States
UZRUJAN Croatia
VALERINNE Romania
VALLEY OF THE GIANTS Canada
VAMPILLIA Japan
VESSELS United Kingdom
VIRVEL Serbia
VOLTA DO MAR United States
VOTIVA LUX Italy
WADDLE France
WANG WEN China
WASSERMANNS FIEBERTRAUM Multi-National
WATTER United States
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
YOUTHMOVIES United Kingdom
ZALEM France
ZHAOZE China
ZUKR France

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