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EXPERIMENTAL/POST METAL

A Progressive Rock Sub-genre


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Experimental/Post Metal definition



Experimental Progressive Metal

Experimental progressive metal is a sub-genre of progressive metal characterized by the incorporation of innovative, eclectic elements, large-scale experimentation and the use of non-standard and unconventional sounds, instruments, song structures, playing styles, and vocal techniques. Experimentation in the music is a major criteria to define the genre where artists often add unique elements to the overall sound, while progressive metal usually has more focus on traditional metal instrumentation and higher levels of technical complexity.

It's nearly impossible to pinpoint the exact origin of Experimental Progressive Metal since experimentation is common in all music genres. Still it is clear that experimentation in the progressive metal sub-genre has slowly but steadily grown in popularity ever since its humble beginnings in the early 1980s.

Just like any other style, Experimental Progressive Metal has a few defining moments that have changed the rules for its sub-genre for years to come. Two of such moments are the releases of the debut album by MR.BUNGLE of August 1991 and its iconic follow up "Disco Volante" of 1995. MR BUNGLE became notorious for their heavy sound and mid-song shifts of musical style. The band has later spawned an array of established avant-garde side projects such as FANT‘MAS, SECRET CHIEFS 3 and ESTRADASPHERE but also inspired new Experimental Metal acts to take the music scene to new heights.
Another crucial artist in the development of Experimental Progressive Metal was the leading Avant Metal band of the 80s, CELTIC FROST. Their eclectic mix of Thrash, Doom, Symphonic and Goth Metal created a dark theatrical mystique that became a major influence among the experimental Extreme Metal bands of the 90s such as MY DYING BRIDE, ULVER, ARCTURUS among others. These bands served as an important source of inspiration for the experimental movement within extreme metal.

The bands listed under Experimental Progressive Metal have all, in various degrees, shed their extreme heritage in favor of embracing influences of the eclectic style going from art rock and ethnic up to free-jazz and even modernist music.

Art Metal
Art metal is a direct continuation of progressive metal but with the longing to expand the themes and styles of music while maintaining the technical complexity of the sub-genre.
These bands are more artistic than their progressive metal peers and tend to experiment, to a certain extent, but not as openly as the bands of the eclectic and avant-garde metal styles. Art metal comes in many shapes and forms. The virtuosity and complete unpredictability of DEVIN TOWNSEND, OSI and TOOL always manages to draw attention of both fans of traditional metal as well as the progressive music audience, while bands like ANATHEMA, DEADSOUL TRIBE and GORDIAN KNOT attract many fans of groove and atmospheric music into their vibrant soundscapes. Other notable acts include GREEN CARNATION, DARK SUNS and ANTIMATTER.

Eclectic Metal
These bands often add unconventional elements to their metal sound, whether it's experiments with various new sounds and styles that are otherwise uncommon in metal or by blending many styles, with metal being the referential core. Whether it's the ethnic elements of ORPHANED LAND's music that combines Middle Eastern folklore with the more traditional progressive metal sound or a completely unique mix of atmospheric, almost ambient, elements fused with metal that can be found in the sound of THE GATHERING, eclectic metal artists will always certainly bring a host of different styles and ideas to the table. Experimental metal can be found in numerous forms while featuring notable acts like INDUKTI, IN THE WOODS... and MAUDLIN OF THE WELL.

Avant-garde Metal
This style is generally considered to be more extreme in both its arrangements but most importantly extremely complex and unpredictable song structures. Compositions have the ambition of trying to breach boundaries of music and generally have significant experimental approaches to metal music. Most of this music borders on the realms of pure avant-garde while still maintaining a solid foundation in metal with technical instrumental prowess. Notable acts include UNEXPECT, EPHEL DUATH and VIRUS.


Post Metal

Post metal arose following the subsequent emergence of numerous newer, grittier metal genres like sludge, stoner, doom, and drone in the late 80's and early 90's, as well as the budding post-rock scene that emerged in the early 90's in Europe and North America. The scene's origins can be heard in several distinctly like-minded, moderately experimental groups in the early 90's, ranging from the noisy grind of GODFLESH, the sludgy, melodic, sometimes punk-like riffs of the MELVINS, and the proggy time signatures and grungy riffing of TOOL or HELMET, to the textural work of DON CABALLERO and the more melodic moments of early BARK PSYCHOSIS.

Arguably the first true and definitive realizations of post-metal emerged in the mid 1990's. The most concrete example was NEUROSIS, who moved farther away from their crust-punk origins and into more atmospheric territories with releases like Souls at Zero and Through Silver in Blood, the latter album in particular being regarded as one of the most definitive releases in the genre even to this day for its revolutionary blend of dark, spanning atmosphere and massively heavy sludge, something that would later come to define the post-metal genre as a whole (indeed, post-metal is often called "atmospheric sludge" as well). It wouldn't be until the early 2000's, however, that the genre's capacity would be fully realized, with releases like ISIS's "Oceanic", CULT OF LUNA's "Salvation", and PELICAN's "Australasia" paving the way for a true scene to emerge, and post-metal has since become a widespread phenomenon that has captivated the attention of many adventurous listeners worldwide.

Post-metal's unique sound is often very long and extremely drawn-out, utilizing oft-repetitive and simple riffs and guitar texturing to create massive buildups and musical climaxes. At times very emotionally evocative, it can be equally soft and soothing as it can be massively dense and crushing. Vocals are used sparingly, if at all (instrumental post-metal is a popular genre, with groups like PELICAN and RUSSIAN CIRCLES even achieving some degree of mainstream credibility), and when they are, they're usually gruff and barked as opposed to growled or screamed, a signature trait of the genre's hardcore roots.

Variations of Post-metal

While it should be noted that many post-metal bands have their roots in sludge metal, there are many post-metal bands that are rooted in other genres of metal. While post-sludge was an almost uniquely American phenomenon, a number of European doom-influenced post-metal bands have risen to fame, namely groups like ANATHEMA, YEAR OF NO LIGHT and CALLISTO; their slow-churning riffs and depressing mood of doom metal fit very well into the post-metal formula. These groups later gave way to more western post-doom-metal projects like JESU, GIANT SQUID, and MINSK.

A number of post-metal bands are significantly influenced by hardcore and post-hardcore, crafting the melodic elements of modern hardcore into their own brands of textural and atmospheric post-metal. This is exemplified by groups like ROSETTA, THE OCEAN COLLECTIVE, CAVE IN, MOUTH OF THE ARCHITECT and BURST.

A subgenre that has emerged to a considerable degree in the last decade is an amalgamation of post-rock and black metal. Black metal has traditionally not been a stylistic influence on post-metal over the years, but bands like ALCEST, FEN, AGALLOCH and ALTAR OF PLAGUES have used the more atmospheric qualities of black metal and the tremolo riffing and incorporated it with a shoegaze-like affinity for heavy, dreamy sounds and guitar effects to create a unique and evocative subgenre that shares many visional and sonic characteristics of post-metal. While the explosion of bands exploring this style is a rather recent phenomenon, there are some instances of this occurring very early in the lifespan of the post-metal genre as a whole. ULVER's debut could be seen as possibly the first album to fall under this definition. For clarification's sake, these post-rock influenced bands are placed in the post-metal subsection of ProgArchives as opposed to the black metal subsection of Tech/Extreme because they eschew much of the harsh tonalities, minor modes, and shrieking vocals of black metal and add a melodic and emotional aspect that makes it much more accessible than their progressive black metal peers in the tech/extreme section.

Today, the most popular post-metal groups are much of the genre's godfathers like ISIS, NEUROSIS, PELICAN, and CULT OF LUNA, though a number of newer bands have risen to fame in metal and prog circles within the last 5 years like INTRONAUT, ROSETTA, and THE OCEAN COLLECTIVE.


--- Definition by Alex and Kevin and the Progressive Metal Team, February 2012 ---

The Progressive Metal Team are: (15/1/2021)
Karl (bonnek)
Kevin (Necroncommander)
Mike (TCat)
Sebastian (Kempokid)
Cristi
Nick (nick_h_nz)

Experimental/Post Metal Top Albums


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

4.22 | 1619 ratings
LATERALUS
Tool
4.22 | 716 ratings
PART THE SECOND
Maudlin Of The Well
4.32 | 142 ratings
IMAGINARY SONICSCAPE
Sigh
4.20 | 670 ratings
TERRIA
Townsend, Devin
4.25 | 194 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.19 | 398 ratings
THE MANTLE
Agalloch
4.45 | 54 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.15 | 727 ratings
JUDGEMENT
Anathema
4.18 | 314 ratings
BATH
Maudlin Of The Well
4.17 | 336 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.15 | 601 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.14 | 359 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.19 | 161 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult Of Luna
4.13 | 269 ratings
PANOPTICON
Isis
4.13 | 271 ratings
IN A FLESH AQUARIUM
Unexpect
4.25 | 85 ratings
SOULS AT ZERO
Neurosis
4.08 | 969 ratings
∆NIMA
Tool
4.09 | 325 ratings
FABLES OF THE SLEEPLESS EMPIRE
Unexpect
4.16 | 126 ratings
SOL NIGER WITHIN
Thordendal's Special Defects, Fredrik
4.55 | 28 ratings
TERRAFORMING
Postman Syndrome, The

Experimental/Post Metal overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Experimental/Post Metal experts team

THE TELESTIC DISFRACTURE
5ive
THE SECOND PHILOSOPHY
Nahemah
ENTHEOGEN
Sika Redem
AND BLOOD WAS PASSION
Zebulon Pike

Latest Experimental/Post Metal Music Reviews


 Precambrian by OCEAN, THE album cover Studio Album, 2007
4.10 | 98 ratings

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Precambrian
The Ocean Experimental/Post Metal

Review by Gorgut Muncher

5 stars One of the best Post-Metal albums I've ever heard. The first CD is ok but the second CD is where it all really shines. Heavy riff sections, death metal vocals, trancelike keyboards, all packed into one. Precambrian is a double-CD album that features The Ocean showcasing all the skills (which are many) that they're good at.

Hadean/Archaean is the first CD and features very straightforward progressive metal. It's forty minutes shorter than the second CD. The second CD features more atmospheric, sludge-metal-ish music and it works even better. Highly recommended to all Post-Metal fans. Very solid, very well performed. Five stars for me.

 Saviour by ANTIMATTER album cover Studio Album, 2001
3.46 | 60 ratings

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Saviour
Antimatter Experimental/Post Metal

Review by The Crow
Prog Reviewer

2 stars Antimatter's debut, by Mick Moss and the ex-Anathema Duncan Patterson!

And curiously, this album sounds more than I expected llike the great Alternative 4 from Anathema, which is undoubtedly the best album where Patterson has ever participated. Therefore, depressing environments with sad guitars and piercing bass melodies reappear, adorned by not always well-tuned female voices and Moss's elegant vocals.

Unfortunately, despite the fact that there are three or four brilliant songs, the album becomes dull in the long run, preventing repeated listening. The mediocre female singin does not help either.

Despite everything, lovers of the darker and more melancholic electronic progressive may appreciate this Saviour.

Best Tracks: Over Your Shoulder (beautiful guitar melodies and good vocals), Psalms (enters in the trip-hop field, but it's a good song) and The Last Laugh (definitely, when Moss sings the album is better)

My Rating: **

 Mein Wort in Deiner Dunkelheit by LANDFERMANN, RAINER album cover Studio Album, 2019
4.00 | 1 ratings

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Mein Wort in Deiner Dunkelheit
Rainer Landfermann Experimental/Post Metal

Review by TCat
Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

— First review of this album —
4 stars If you think you've heard it all as far as progressive metal genres, think again. This is real avantgarde progressive metal for all of the pan heads out there. I have listened to a lot of progressive metal over this past year being on the prog metal team, but sometimes I have to actually express my opinion about an artist that I think is cutting edge and rises above the typical artist in the over-saturated world of progressive metal lately.

Rainer Landfermann has lent his vocals to a few extreme bands in the past, but never have we heard him at his full potential as we do in his only solo album to date. Everyone is most likely familiar with the crazy vocal antics of Mike Patton in his work with Faith No More, John Zorn, Fantomas and a whole host of other projects, right? I thought it would be hard to think of anyone that has such a wild and dynamic voice as Patton does, that is until I heard Rainer. In "Mein Wort in Deiner Dunkelheit", Landfermann's debut solo album, Rainer uses his voice in ways that will make your ears melt and your brain explode. Even just listening to one track on this crazy album will leave you speechless, and that can be both good and bad.

Many listeners will not be able to handle Rainer's vocals, I understand that. The thing is, not only is he a dramatic, dynamic and just totally not-of-this-world vocalist, but he can play the bass like it is his own appendage. The instrumentation on this album is stupendous, and, even if you can't handle the crazy vocals, you should still listen to this album for the music alone. This album flows from ambient piano passages to chorale singing to lounge jazz to extreme avant-garde metal in a split second, and sometimes it mixes the various genres to some really amazing outcomes.

This music is 100% avant garde, let's get that out in the open right away. That too might turn some prospective listeners off. However, remember this is progressive music, and if there is any artist out there where everyone would have to agree is experimental metal, then this would be it. Yes there are passages of extreme tech metal here, but not to the extent that you might think. Although, this is going to be extremely difficult to put this musical experience to words, I'm going to try to take you through the tracks of this album so that maybe you can understand just how varied and dynamic it is. If you are listening along as you read the descriptions, well, just get ready to be blown away, for better or worse, depending on your take on it all.

Langsam, hinters Licht - A lovely, smooth bass line plays under Landermann's insane vocals which start out as a dark whisper and soon escalate into crazy, emotional insanity. Along with the nice bass line are some wild drums and feedlback along with almost symphonic instrumentation that definitely spreads freely into avant-prog territory without a problem. The male choral behind it all gives it that somber mood that is needed to ground it all.

Kunstvoll - The instrumentation here is much more extreme, but not to the point that you don't hear the progressive aspects. Maniacal vocals soar and swoop into crazy highs and lows unlike anything you have heard. The vocals are angry as all get out, but the music itself veers in and out of insanity like a thirteen-legged centipede. The multi- tracked male chorus is there again, but this time they don't even try to ground anything to sanity. At 4 minutes, there is a sudden turn to ambient as a solo piano takes over for a while, but soon outburst from the vocals and from heavy guitars rain down upon the entire scenario, and a blistering guitar solo will amaze you.

Vertieft - A wall of guitar and the male chorus bring you as close to accessible as you can expect to come here before the drama of Rainer's vocals rip through your ears. So much for anything being typical here. But wait until you hear that crazy bass backed up by the full multi-tracked choir. Don't listen to closely though, there is the danger of returning vocals frying your earlobes off.

Wir fehlen alle - So you may be wondering what it would sound like if Rainer sung a ballad. The beginning of this track may answer your question. Don't expect anything typical here though, you won't get it. This slow, dirge-like track marches forward like a bunch of drunk ogres screaming for vengeance. The mix of near-ambient synth sections and sudden outbursts of double forte explosions leave you wondering where things will go, but another lovely bass line act as a foundation for vocal craziness on the 2nd half of the track.

Schneller als Sehnsucht, Gr√∂√?er als Eins - This is the closest to your typical tech/extreme prog music on the album. Rapid fire drums and walls of guitar back up the vocals here, and the running bass that ebbs and flows here will suck you quickly into this miasma of sound. Halfway through, though, it all returns to avant madness again with screams and yells that only seem stranger when you add in the crazy choir effects.

Intuition - A nice ambient piano and bass start it all off, then a slow beat plods along taking it all forward. Growls, whispers, screams, and drama come along later, then an organ takes the place of the piano. A combination of growling and yelling soon take this into extreme territory, but then the sudden break in with an electric piano plays above the wall of guitars turning it all into a sick, avant jazz metal affair, which soon drops off a soft section, and then back to extreme metal again.

Hingabe - A shorter track that is a study in major extremes from lounge jazz to avant metal and all the vocal types that come with it.

Genius Drang - Wow, kind of funky metal, not something I expected to open up this track. As it continues, it explores all of the colors of the metal spectrum, including chamber folk metal, all in a matter of 3 minutes. Again, the male chorale is an excellent touch.

Urspr√ľngliches - A lovely piano and slow jazz beat act as a flowing foundation that supports some spoken word and a nice smooth, male chorus singing. Even though this track is more laidback and features the lovely piano behind it all, Rainer still uses his extreme vocals. This is probably the most accessible of the tracks, but that really means very little here.

Mein Wort in Deiner Dunkelheit - A symphonic, metal sounding background with those crazy vocals is what starts it all off, but then it soon mellows out with piano chords. By now, you know that nothing is going to stay in one place too long.

So, I have to say that as far as what I have heard since I have been on the progressive metal team, that this is one of the most original and dynamic albums that I have heard. I do have problems with some of the growling and screaming of the vocals, but it's not that bad after hearing it a few times. Again, to best prepare yourself for this album, think of some of Mike Patton's craziest work, and you might get a good idea of what you are in for, at least as far as the vocals are concerned. Everything else in the instrumentation is just top notch. The vocals, for me, tend to take this down from 5 to 4 stars, and sometimes they are a bit overused, but, over time, this could easily change to 5 stars.

 Viva La Vida by CARNIVAL IN COAL album cover Studio Album, 1999
3.91 | 3 ratings

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Viva La Vida
Carnival In Coal Experimental/Post Metal

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

4 stars One of a handful of bands that were so smitten by the crazy genre skipping possibilities of Mr Bungle that they took on the adventurous task of creating their own style of band based on the endless limitations. CARNIVAL IN COAL was such a band that emerged from Amiens, France and basically the brainchild of vocalist Arno Strobl and multi-instrumentalist Axel Wursthorn (aka Karl Zengeris). The project existed from 1995-2007 but has been revived in 2014. CARNIVAL IN COAL caught the avant-garde metal world by surprise in how they mixed death metal, black metal and other metal genres with disco, pop, electronica and whatever else they could dream up. Despite the influences of Mr Bungle and Faith No More, CARNIVAL IN COAL successfully forged their own way without sounding derivative in any way, mostly by focusing on the extreme metal aspects and juxtaposing things in an overlapping way rather than slapping you in the face with a million genres per minute.

After releasing the demo "Sramak" in 1997, the duo required another two years to construct its debut VIVALAVIDA (Long Live Life) which emerged in 1999. The album was the very first release of the fledgling Majors record label. This was very much a homegrown project with the duo handling all affairs which unfortunately at this stage required the usage of a drum machine but despite it all, it's quite impressive and although these types of everything but the kitchen sink projects often collapse under their own bloated ambitions, CARNIVAL IN COAL was quite successful in crafting an album's worth of metal meets everything else in a way that sounds organic and logical. While not quite as adventurous or ingenious as the epic Mr Bungle albums, CARNIVAL IN COAL did however craft an extremely wild ride that focused on the extremities of the metal universe while adding cheesy pop atmospheres, disco beats, funk rock and even electronic weirdness. Not to be taken seriously at all, CIC adopted the nonchalant self-deprecating humor of the Bunglers and offering a comedic approach.

VIVALAVIDA exudes its titular prowess in a multi-faceted way. Exhibiting a certain joie de vivre like only the French can, CARNIVAL IN COAL crafts a tasty recipe like a top chef at the Cordon Bleu with a heap of black metal, a dash of death metal growls and blast betas, pinches of reggae and disco, moments of chamber rock, industrial bleakness, pop infused hooks and progressive off-kilter time signatures. While the Mike Patton influences are never left too far behind, i have to admit that CIC did a remarkable task of reinterpreting all the possibilities of where the Bunglers never lurked. After all the limitations are really as far as your imagination can take you and without any concern for commercial viability or pleasing the critics, Wurtshorn an d Strobl simply let their freak flags fly as high as they could hoist them. Of course these kinds of albums only work if there is some sort of underpinning that connects them altogether and for whatever reason it works pretty well.

While i wouldn't call VIVALAVIDA an album that will eclipse anything the Bunglers cranked out, CARNIVAL IN COAL certainly did a noble job of finding their own voice in the wilderness from the getgo. This is quite an enjoyable album that pays attention to the continuity of the musical flow and for a genre skipping album of this sort, a vital ingredient to keep potential fans from fleeing in horror. The metal parts are pretty much limited to riffing so no technical wizardry in that department. This is a rhythmically stable sort of album that offers a bit of progressive outbursts from time to time. The gist of the album is to alternate heavier metal oriented motifs with slicker synth-rich disco and easy listening and thus alternate growly vocals with clean vocal harmonies. While there is certainly room for improvement as the album could add a bit more variety if you're going for broke, overall VIVALAVIDA is an interesting artifact of the late 1990s that hasn't gotten as much attention as other avant-garde metal bands such as Sigh, Unexpect or even Dog Fashion Disco, however still a must for avant-garde metal heads.

 Khaooohs & Kon-Fus-Ion by PAN.THY.MONIUM album cover Studio Album, 1996
4.45 | 54 ratings

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Khaooohs & Kon-Fus-Ion
Pan.Thy.Monium Experimental/Post Metal

Review by Necrotica
Prog Reviewer

5 stars Hearing the first few moments of Khaooohs and Kon-Fus-Ion can be pretty jarring for some listeners. A cavernous down-tuned doom metal riff is met with a guitar solo you'd normally hear in a 12-bar blues song at the local pub; it's a weird combination and doesn't seem like it should work, yet it does. And that'd might as well be the summary for Pan.Thy.Monium's music: they play [&*!#] that shouldn't work and somehow does. One of the easiest pitfalls avant-garde metal bands often fall victim to is putting way too much random stuff in their songs without accounting for the actual songwriting quality. Luckily, I can say with utmost confidence that Khaooohs and Kon-Fus-Ion doesn't fall into this trap. The first two tracks - which take up the majority of the record with their epic lengths - are incredibly adventurous while knowing when to break up the insanity to take a breather. For instance "The Battle of Geeheeb" periodically lets soaring guitar solos take center-stage, most of which are highly melodic and inspired by traditional 80s metal. Everytime the album threatens to fly off the handle, the band manage to find ways to keep the experience grounded.

Then again, I suppose this isn't much of a surprise given the band's leading songwriter, who happens to be legendary musician and producer Dan Swano. At this point, his name was already a seal of quality in the progressive death metal realm; in fact, his 40-minute one-song masterwork Crimson would be released the same year as Khaooohs and Kon- Fus-Ion, merely a month apart. So it's no wonder that the songwriting here is as focused as it is experimental. Getting back to the music, "Thee-Pherenth" is an even more dense and difficult affair than the opener; wailing saxophones, off- kilter guitar riffs, strange time signatures, dark ambient passages, and even some hints of black metal are all found in this tune. There's even a really catchy funk metal riff midway into the song, which reminds me a lot of that groovy riff found in Gorguts' "Nostalgia". But again, keeping in line with what I stated earlier, this off-the-wall moment is still met with a melodic guitar solo that slows things down and balances out the craziness. There are also some strange synthesizers that sound like a mix of Sadist's Tribe album and classic Playstation music. The beauty of music like this is that - especially when you're listening to it for the first time - the unpredictability of such experimental metal makes the experience genuinely exciting.

Finally, we get to those other two songs. However, "In Remembrance" isn't really a song; in fact, it's just one minute of silence. Perhaps it's meant as an audio representation of a real-life "moment of silence", although I do wish there was an actual outro. Meanwhile, "Behrial" might just be the most surprising thing on the record. Instead of another intense prog-death number, we're greeted with calming, angelic keyboards; the weirdest thing about this track is that there's nothing eerie or creepy going on in the background. The entire song is just? beautiful. It's repetitive, but it puts you in a state of peace and relaxation with its otherworldly sense of atmosphere. It's a perfect wind-down track after two very intense and complex epics, and it ends Khaooos and Kon-Fus-Ion on a wonderful note. Simply put, this band is a bit of an anomaly. I'm not sure what bands I'd even lump this music in with, and that's what makes Pan.Thy.Monium so special; they were a singular, idiosyncratic group that allowed Dan Swano to get as creative and experimental as he could. If you enjoy avant-garde metal and are looking for something that's truly original and compelling in its many oddities, you can't go wrong here.

 Mountain Fever by SUBTERRANEAN MASQUERADE album cover Studio Album, 2021
4.18 | 8 ratings

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Mountain Fever
Subterranean Masquerade Experimental/Post Metal

Review by alainPP

4 stars Subterranean Masquerade is the Israeli group founded in 1997, working in post prog metal, progressive neo metal rock'n'roll. Their first opus of 2005 surprised me with this experimental, psyche and dark prog bent. Their 4th is said to explore the countries modern, traditional music with brass from the Balkans, bouzouki, black metal and gospel, some traces of jazzy and folk, devastating riffs and a confusing orchestral side. Guests from Orphaned Land and Melechesh come to glorify this little gem, the notes of which I will tell you.

"Snake Charmer" on heavy melodic retro prog, catchy on the rhythmic, soft voice, powerful single, a bit of an all-rounder which follows with "Diaspora, My Love" ballad with a crescendo mixing prog metal and oriental sequence, final death-dark ŗ la Pain Of Salvation for the animal side, a very beautiful spleen guitar solo right in the middle before the band's signature and its growl voice. "Mountain Fever" and blazing brass intro, Doley's voice like that of Roy des Kamelots, then a groan that breaks the mood; melodic solo until a singular, confusing break, tribal with drums, violins, ideal for dancing in all directions, paradoxical sublime oriental section, musical oxymoron with chaos and sweetness, whisper and growl. "Inwards" and an intro from there, proven folk-troubadour, festive, sidereal sweetness, the oriental at the table with melody, then the riff and the voice of death which send heavy, bluesy solo, soft phrasing voice, jazzy , then it goes up, gets carried away, intense brass with sax, voice ŗ la Axl de Guns N'Roses, orgasmic squirt. "Somewhere I Sadly Belong" continues on the same rhythm at the beginning: then surge to infernal Holy Moses, raw death metal then rock cover again to Guns; singular mix, a gospel song and a Hammond organ saving from musical wreck for purists but a title which will not leave indifferent; very confusing.

"The Stillnox Oratory" vocal break with Dolev who provides here on a romantic ballad with finesse on piano and strings; grandiloquent, aerial guitar solo, fruity and divine; emotion in bars, synth break then heavier final with the return of a growl voice skilfully mixed with emotional rhythm, there is Faith No More in it, magical. "Ascend" it drops, organ, placed rhythm, Dolev's voice over several octaves, the single from the album with an obvious chorus and then this divine, joyful, tribal orchestral break, oxymorian rock; the 'Oioioi' makes you want to sing too. "Ya Shema Evyonecha" in Hebrew, I suspected, mystical and violent; growl, brass, riffs, world music brewed together; the whistle gives the start for a crazy break fusion where the balkans invite you with the violin to dance and make a pact, loudly! "For The Leader, With Strings Music" starts again on the violent and nervous death-black metal which shows the true face of the group; you held on, well done, the musical break that follows is one of the most beautiful, melodic, melancholy, intimate, the sax which also surprises for an over-vitamin crescendo. "MŚngata" with guitar, bouzouki, ballad, nod to the former singer, nostalgic post rock for this reflection of the moon on the water; Idan from Orphaned Land coming to throw some notes and allow the title to rise, Pain Of Salvation coming back to me. Subterranean Masquerade hit hard by mixing a little more his musical influences; it's sweet, strong, singular, ethnic and musical, it's groove, death, dark, extreme; it is varied, raw, inventive and interrogative; a singular fusion, creator of dark-heavy prog in an inventive musical melting pot.

 Ntomokum by SENMUTH album cover Studio Album, 2020
4.00 | 1 ratings

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Ntomokum
Senmuth Experimental/Post Metal

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

— First review of this album —
4 stars Wondering where he is now. A Russian multi-instrumentalist SENMUTH is well renowned as one of the most prolific progressive rock artists all over the world (surprisingly he's created hundreds of albums for one and half a decade!) but sadly this album "Ntomokum" released in August 2020 is currently his latest official stuff if I'm not wrong (and actually this is my first SENMUTH). "Ntomokum" is tremendously filled with stable acoustic religious movements like mindfulness, and tribal, oriental hints, regardless of his own metallic experimentalism. As if he would have got spiritually awakened ...

Every single track has intensional tense atmosphere but it's great the entire album is veiled in a relaxing quiet environment launched by his instruments. "Ivory Ornament" features his beautiful acoustic guitar-based 'spoken words' along with delightful melody lines and soft, smooth percussive rhythmic vibes. The last "Bandiagara" has sticky, repetitive phrases that absorb and wrap up the audience. On the contrary, in "Arak Gorges" we can enjoy weird dissection ambience drenched in fuzzy, freaky electric guitar sounds. Sounds like this soundscape gives us his foresight to the current pandemic situation. The seventh track (how should we pronounce the title?) flooded with mysterious atmospheric endeavour drives us mad really. Anyway, I consider the second masterpiece "Anti-Atlas" should determine the potential of this whole creation. Solemn spiritual activity and lyrical, atmospheric melody lines are crazy fantastic. We would get immersed in his impressive, strong messages.

Finally. Let me say thanks to my progressive rock mate Luca (octopus-4) for notifying me of his wonderful creations.

 Devolution Series #1 - Acoustically Inclined, Live in Leeds by TOWNSEND, DEVIN album cover Live, 2021
4.00 | 1 ratings

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Devolution Series #1 - Acoustically Inclined, Live in Leeds
Devin Townsend Experimental/Post Metal

Review by kev rowland
Special Collaborator Honorary Reviewer

— First review of this album —
4 stars Devin Townsend is currently working on new material, and due to a lack of touring possibilities and encounters with fans on the road he has decided to release a series of live albums, quarantine albums, and other projects to keep people interested. This release is the first in what is called 'The Devolution Series' and is a remixed and remastered version of the 'Live in Leeds' show that was originally on the 'Empath' Ultimate Edition. Here we find Devin in his absolute element, playing his songs in a stripped-down style, plenty of reverb on the voice and picked acoustic guitar. It is a low-key set, allowing Devin to easily interact with his audience who are obviously all hardcore fans wanting to hear well-known songs in a somewhat different fashion. Devin points out that the material is generally first written on acoustic, so it must go through multiple changes before finally making it to an album, as this sounds nothing like the wall of sound I generally associate with him.

He comments at the beginning that he is making the setlist up as he goes along, and that it will be followed by a question-and-answer session, and it would have been interesting to hear that as there is such a rapport between musician and audience that those who were not there (such as myself) would get a lot from it. Hearing the songs being performed in this fashion is a revelation, as the bombast and volume has been stripped away and what we have been left with is simple beauty. In many ways this is one of the most powerful albums I have heard from Devin, as there are no defence mechanisms in place as he opens himself up, allowing his material to shine in a new light, and it burns brightly indeed. While fans will be the first ones to flock to this album, this is something which will allow those who have yet to discover Devin to hear him in a whole new way. Simply essential.

 Order of Magnitude - Empath Live Volume 1 by TOWNSEND, DEVIN album cover Live, 2020
4.11 | 9 ratings

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Order of Magnitude - Empath Live Volume 1
Devin Townsend Experimental/Post Metal

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars I can still remember when I first heard 'Infinity' back in 1998: it just blew my mind and from there on I was a huge fan of Townsend and whatever project he was involved with. I vividly remember taking a carload of developers from Hayes to Bristol to see some depots and stores in operation, and blasting 'Physicist' at full volume both ways ? it was my car and I got to choose the music. One thing about Townsend is that he is so naturally curious and wanting to push boundaries that one is never sure quite what one is going to get, and the one time I saw him in concert as a bombastic over the top quartet I was somewhat disappointed. However, when it came to 'Retinal Circus' I was in awe and it is a concert I still love playing. Mind you, that was a special gig in many ways, with incredible musicians, a choir, backing tapes, loads of antics on stage, and the one and only Anneke van Giersbergen.

Fast forward to 2019, and he had decided he wanted to do something a little different and get rid of the backing tapes and click tracks and instead go naked into the night. Well, maybe not quite so lonely, as instead for this tour he surrounded himself with the right musicians to make it all work, which meant bringing on board some guys who he played with before, and others who were completely new. The band was guitarists Mike Kenneally (ex-Frank Zappa) and Markus Reuter (Stick Men, The Crimson Projekct), drummer Morgen Agren (Kaipa, Mats and Morgan, Frank Zappa), bassist Nathan Navarro, Haken keyboard player Diego Tejeida, and guitarist/vocalist Chť Aimee Dorval, as well as vocalists Samantha & Anne Preis & Arabella Packford. I do find myself missing the clear cut through vocals of Anneke, as the singers involved are not really up to her quality, but that is rather nit picking on my part, as here is a guy having an absolute blast, deliberately rearranging some songs so instead of metallic monsters they are quite different and come through as ballads, while we also get a straight version of "Disco Inferno" (I kid you not). I only have the audio (this has been released in multiple versions including Blu-ray), but can imagine the looks on the face of the audience. Utilising Markus Reuter is also inspired, as he can do so much more with a guitar than just provide normal notes, while Kenneally is also a legend and between them they can provide the heavy stuff or take the music in totally different directions.

Townsend is someone who never settles, and consequently is always exciting, and this album is yet another example of that. I may not return to it as often as 'Retinal Circus' as that is simply genius, but this is something I can see myself playing time and again. Wonderful.

 Dream Weapon by GENGHIS TRON album cover Studio Album, 2021
3.86 | 5 ratings

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Dream Weapon
Genghis Tron Experimental/Post Metal

Review by ssmarcus

4 stars By now its a fairly familiar tale. An American millennial extreme music artist from the early to mid 'oughts specializing in "smothing-core," decides to dial back the intensity and veer off into some electronic and post-rock experimentation. Its a phenomenon that is both equal parts meme and illustration of the immense power of the zeitgeist. An artist's creative direction is already decided by the current around them. Only whether they sink below the changing tide, swim ahead of it, or find themselves carried by it in the form of a meme is left undetermined.

Dream Weapon, Genghis Tron's first album since 2008, is very much in the spirit of this change in zeitgeist. Tron rose to relative prominence a decade and a half ago as an artist known for blending the extreme hardcore and metalcore prominent at the time with electronica. Particularly notable was their use of a drum machine in place of a real drummer. Initially used out of necessity due to not finding a suitable drummer, the drum machine eventually became the defining feature of Tron's sound. In hind- sight, Tron's introduction of synthetic and electronic sounds seems to have heralded the trend in the wider context.

Enter 2021's Dream Weapon, a record so utterly unrecognizable from its predecessor's that it might as well have been put out by a different artist. Short sprints of aggression and brutality have been replaced by spacious and repetitive electronic ambiance. The post-hardcore screams and cries of former singer Mookie Singerman have been replaced by the distant droning croons of Tony Wolski. Even the drum machine has been replaced by flesh and blood drummer Nick Yacyshyn. Though the usage of a real drummer may seem like a step away from the electronic frontier, in context, the acoustic drums serve to advance the record along its perpendicular post-rock axis of experimentation.

While Dream Weapon is certainly a drastic departure for Genghis Tron, as I've already indicated, I can't really say its all that unexpected when taking broader music trends into context. Still, this record sees the band both comfortable and inspired in their new skin, producing some immensely captivating music along the way. The record's sole weakness is in just how maddingly restrained it can be across most of its run time. Though successful in building long trance-inducing passages, the album definitely could have afforded passages with more prominent vocals and guitar riffs, akin to what the band did on the track "Dream Weapon." Nevertheless Dream Weapon is worthwhile entry to the band's small but respected discography.

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Experimental/Post Metal bands/artists list

Bands/Artists Country
*SHELS United States
11 AS IN ADVERSARIES France
19 A.D.D. United States
21 EYES OF RUBY Netherlands
THE 3RD AND THE MORTAL Norway
413 United States
5IVE United States
6:33 France
A((WAKE)) United States
AABSINTHE France
ABANDON Sweden
ABYSSE France
ACROSS TUNDRAS United States
ACYL France
ADMIRAL BROWNING United States
ADRIFT Spain
AFTER MY OWN United States
AGALLOCH United States
AGES GONE Germany
AKPHAEZYA France
AKROMA France
ALASKAN Canada
ALCEST France
ALTAR OF PLAGUES Ireland
AMARA United States
AMATERAZU Portugal
AMBEON Netherlands
AMENRA Belgium
AMESOEURS France
AMIA VENERA LANDSCAPE Italy
ANATHEMA United Kingdom
ANCESTORS United States
AND HARMONY DIES Italy
ANGEL EYES United States
ANTIGUA Y BARBUDA Spain
ANTIMATTER Multi-National
ANUBI Lithuania
AORIA Sweden
APOCALIPSIS Mexico
APOCRYPHAL VOICE Finland
APOKATASTASIA Switzerland
APSE United States
ARCADE MESSIAH United Kingdom
THE ARKITECHT Mexico
ARKTIKA Germany
AS LIGHT DIES Spain
ASIDEFROMADAY France
ASPIRATION Norway
ASTROHENGE United Kingdom
ASTRONAUT DOWN United States
AT THE SOUNDAWN Italy
THE ATLAS MOTH United States
ATMOSPHERES Belgium
THE ATOMIC BOMB AUDITION United States
ATROX Norway
AUSSIT‘T MORT France
AUSTARAS United States
THE AXIS OF PERDITION United Kingdom
AZIOLA CRY United States
BACK WHEN United States
BAK Australia
BARONESS United States
BAT CASTLE United States
BATTLE OF MICE United States
BATTLEFIELDS United States
BAUDA Chile
BEAK United States
BEECHER United Kingdom
BEFORE THE EYEWALL United States
BEHIND THE SUN Israel
BEING United States
ADRIAN BENAVIDES United States
BIRUSHANAH Japan
BISON B.C. Canada
IVAR BJōRNSON & EINAR SELVIK Norway
BLACK MATH HORSEMAN United States
BLACK SEA Brazil
BLACK SHEEP WALL United States
BLACKWAVES Germany
BLINDEAD Poland
BLOOD & TIME United States
BLOODWAY Romania
BLOODY PANDA United States
BLUT AUS NORD France
BOBEL Costa Rica
BOSSK United Kingdom
BOTANIST United States
BRAIN TENTACLES United States
BRIDGES TO DREAMS Canada
BUILT-IN OBSOLESCENCE Italy
BUNKUR Netherlands
BURIED INSIDE Canada
BURN DOWN ROME United Kingdom
BURWEED Finland
BUTTERFLY TRAJECTORY Poland
BUZZARD United States
CAINA United Kingdom
CALDERA France
CALLISTO Finland
THE CANCER CONSPIRACY United States
CANDIRIA United States
CAPRICORNS United Kingdom
CAPTURE THE SUN United States
CARNIVAL IN COAL France
CARONTTE Spain
CATACOMBE Portugal
CAVE IN United States
CELEBRITY SEX SCANDAL United States
CELESTINE Iceland
CEREUS Poland
CHASE THE SUNSET United Kingdom
THE CHRONICLES OF ISRAFEL Canada
CHRYST Austria
THE CIRCLE ENDS HERE Italy
CIRUELO CILINDRICO Spain
CLERIC United States
CLOUDKICKER United States
COALESCE United States
COLD BODY RADIATION Netherlands
A COLD DEAD BODY Italy
COLDWORLD Germany
COLONEL PETROV'S GOOD JUDGEMENT Germany
COME SLEEP Sweden
COMITY France
CONIFER United States
THE CONJURATION United States
CONSECRATION Serbia
CORMORANT United States
COSMONAUTS DAY Russia
COUNTERVELA Ireland
CRIB45 Finland
CRYPTIC RUSE United States
CULT OF LUNA Sweden
D.U.N.E. Italy
DAKRYA Greece
DAMASCUS United States
DARK CASTLE United States
DARK SUNS Germany
DARKESTRAH Germany
DARKSPACE Switzerland
DAUGHTERS OF FISSION United States
DAY WITHOUT DAWN United States
DE OMEGA United States
DEADBIRD United States
DEADSOUL TRIBE United States
DEAFHEAVEN United States
THE DEATH OF HER MONEY United Kingdom
DECORTICA New Zealand
DEEP IN THOUGHT Germany
DEFYING Poland
DETERIOR United States
DEVIL SOLD HIS SOUL United Kingdom
DIESTO United States
DIGRESSION ASSASSINS Sweden
DIMLAIA United States
DIRGE France
DISAPPEARER United States
DIVINA ENEMA Belarus
DōDSVERK Norway
DOOM Japan
DORNENREICH Austria
DOTZAUER Italy
DR. SLAGGLEBERRY United Kingdom
DRAWN Norway
DREARE Czech Republic
DREARINESS Italy
DYING SUN United States
EARTH United States
EAST OF THE WALL United States
EBONY LAKE United Kingdom
ECHOES United Kingdom
ECHOES OF YUL Poland
ECHOSILENCE Estonia
EDGE OF REALITY United States
EGOIST Poland
EHNAHRE United States
EIGENGRAU Denmark
EIGHT BELLS United States
EINNA France
ELLIPSIS France
EMPIRES United States
EMPTY YARD EXPERIMENT United Arab Emirates
ENDER New Zealand
ENDNAME Russia
EPHEL DUATH Italy
EPISTASIS United States
ETERNAL DEFORMITY Poland
ETHERSENS France
EVIL INSIDE Spain
EX CURIA Australia
EX EYE United States
EXOTIC ANIMAL PETTING ZOO United States
EXTINCTION ALGORITHM Romania
FALL OF EFRAFA United Kingdom
FALLOCH United Kingdom
FALLS OF RAUROS United States
FAR AWAY France
FEN United Kingdom
FIFTH QUADRANT Sweden
FIRMAM3NT Spain
FLEURETY Norway
FLOOD THE DESERT United States
FOLLOW THE WHITE RABBIT Russia
A FOREST OF STARS United Kingdom
FORMLOFF Norway
FOUNTAINHEAD Germany
FREQUENCY EATER Belgium
FROM OCEANS TO AUTUMN United States
FUTURIAN Canada
THE GABRIEL CONSTRUCT United States
GANON United States
GARDEN OF SHADOWS United States
GARY SUICIDAL KIDS COMMANDO France
THE GATHERING Netherlands
GENERATION OF VIPERS United States
GENGHIS TRON United States
GIANT SQUID United States
GIGANTIC BRAIN United States
GIRE Hungary
GLETSCHER Switzerland
GNAW THEIR TONGUES Netherlands
GODSEND Norway
GONIN-ISH Japan
GOSPEL United States
GRAAL (UKR) Ukraine
THE GRASSHOPPER LIES HEAVY United States
GRAVITON United States
GRAYCEON United States
THE GREAT OLD ONES France
GREEN CARNATION Norway
HAIKU FUNERAL Multi-National
HAIL SPIRIT NOIR Greece
HALCYON Australia
HAMMERS OF MISFORTUNE United States
HAND United Kingdom
HARVEY MILK United States
HEAVEN IN HER ARMS Japan
HEIRS Australia
HELIUM HORSE FLY Belgium
HELLAS MOUNDS United States
HERETOIR Germany
HESPERIAN DEATH HORSE Croatia
HIPOSPADIA Spain
HUMANFLY United Kingdom
HUNDRED HEADLESS HORSEMEN Finland
HVōSCH Russia
HYDRA Mexico
HYPNO5E France
IDENTIFIED United States
IDIOT SAINT CRAZY France
IGORRR France
THE ILLNESS United States
IN THE WOODS... Norway
IN.OVO Canada
INCOMING CEREBRAL OVERDRIVE Italy
INDUKTI Poland
INTER ARMA United States
INTRONAUT United States
IO United Kingdom
ION United States
IREPRESS United States
IRONWOOD Australia
IRREVERSIBLE United States
ISIS United States
ISTHMUS United States
IZAH Netherlands
JAKEL Canada
JANVS Italy
JESU United Kingdom
JEWY SABATAY Serbia
OLIVER KAAH Finland
KAILASH Italy
KALKI AVATARA Italy
KARABOUDJAN Sweden
KEELHAUL United States
KEKAL Indonesia
KHANATE United States
KHEMEŌA France
KHOMA Sweden
KH‘RADA United States
KHUDA United Kingdom
KICK THE BUTTERFLY Australia
KILTER United States
KINGDOM Belgium
KLABAUTAMANN Germany
KOLLWITZ Norway
KONG Netherlands
KONGH Sweden
KORZO Ukraine
KOSMOGRAD Canada
KRAKOW Norway
KRUGER Switzerland
KYLESA United States
RAINER LANDFERMANN Germany
LANDFORGE United Kingdom
LANTLOS Germany
LATITUDES United Kingdom
LEFT BRAIN United States
LENTO Italy
LESBIAN United States
LIGHT BEARER United Kingdom
LITHIUM DAWN United States
LITURGY United States
L÷BO Portugal
LOOK TO WINDWARD New Zealand
LORUS United States
A LOST STATE OF MIND United States
LOTUS THIEF United States
LUCID PLANET Australia
LUCYNINE Italy
LUDICRA United States
LYE BY MISTAKE United States
MADŃRFOGŃS Hungary
MADE OUT OF BABIES United States
MAHESH Chile
MAMMOTH New Zealand
MANATEES United Kingdom
MANDIBULBE France
MANES Norway
MANUSCRIPTS DON'T BURN Italy
MAR DE GRISES Chile
MARE United States
THE MASS United States
THE MATTERHORN PROJECT United States
MAUDLIN Belgium
MAUDLIN OF THE WELL United States
MEANDERING MINE Germany
MEMORIES OF A DEAD MAN France
MENISCUS Australia
MINDFOLD EXPRESS Bulgaria
MINSK United States
MIOSIS Sweden
THE MIRE United Kingdom
MIRRORTHRONE Switzerland
MISANTHROFEEL Russia
MOANAA Poland
MOD FLANDERS CONSPIRACY United States
MOLOKEN Sweden
MOMENTUM Iceland
MONDRIAN OAK Italy
MONUMENTUM Italy
MORAINES Croatia
MORNE United States
THE MORNINGSIDE Russia
MORTIFERIA Norway
MOSE GIGANTICUS United States
MOSKAU Germany
MOUNTAINS BECAME MACHINES United Kingdom
MOUTH OF THE ARCHITECT United States
MOVEMENT OF STATIC Greece
MUTYUMU Japan
MY SILENT WAKE United Kingdom
MYSTER M÷BIUS Multi-National
MYSTIC Netherlands
NAHEMAH Spain
NAHRAYAN Spain
NANDA DEVI United States
NATIONAL SUNDAY LAW United States
NAUTICUS Finland
NAUTILUS Norway
NEBRA Switzerland
NERO DI MARTE Italy
NEUMA Poland
NEUROSIS United States
NEVBORN Switzerland
NIGHT VERSES United States
NIHIL Serbia
NINTH MOON BLACK United States
NO HOME FOR HEROES Australia
NO MADE SENSE United Kingdom
NOCTIS Australia
NOEKK Germany
NOISEDRIVER Belgium
NOORVIK Germany
NORTH United States
NOVEMBRE Italy
NUCLEUS TORN Switzerland
OBSIDIAN KINGDOM Spain
THE OCEAN DOESN'T WANT ME South Africa
THE OCEAN Germany
OCOAI United States
OHGOD! South Africa
THE OLD DEAD TREE France
OLD MAN GLOOM United States
OMB Israel
THE OMEGA EXPERIMENT United States
OMEGA MASSIF Germany
OMERTAH Ukraine
÷OOOOOOOOOO France
ORANSSI PAZUZU Finland
ORDO DRACONIS Netherlands
ōRKENKJōTT Norway
ORPHANED LAND Israel
ORTHODOX Spain
OSI United States
OSTROVA Spain
THE OTHER SIDE OF THE SKY United States
OUTOPSYA Italy
OUTRUN THE SUNLIGHT United States
OVERMARS France
÷XX÷ X÷÷X France
PAN.THY.MONIUM Sweden
PANOPTICON United States
THE PAX CECILIA United States
PECCATUM Norway
PELICAN United States
PET SLIMMERS OF THE YEAR United Kingdom
PIKE Sweden
PINKLY SMOOTH United States
THE POSTMAN SYNDROME United States
PRISMA Switzerland
PROGHMA-C Poland
THE PROPHECY United Kingdom
PRYAPISME France
PSYCHOFAGIST Italy
PSYKUP France
PULL DOWN THE SUN New Zealand
PYRAMIDS United States
QUALEACEANS United Kingdom
QUARANTADUE Italy
QUBE Poland
QUESTIONER United States
RADAR Finland
RADIATION 4 United States
RAIN DELAY Serbia
RAINROOM Finland
RAXINASKY Belgium
REAL LOUD United States
RED PAPER DRAGON United Kingdom
REFRACTION Ireland
THE REPTILIANS United States
THE RETICENT United States
RETURNING WE HEAR THE LARKS United Kingdom
RIVIERE France
ROSETTA United States
ROUTE NINE Sweden
RWAKE United States
RYOKUCHI Japan
RYR Germany
SAL Y MILETO Ecuador
SALVICTION Poland
SANNHET United States
SCAPHOID United States
SCHIZOID LLOYD Netherlands
SCORCHED SHORE United States
SECONDSKIN United Kingdom
SENMUTH Russia
SENSUAL NOISE Belgium
SEPIA DREAMER Sweden
SEVEN United States
SEVEN NAUTICAL MILES Sweden
SEVEN NINES AND TENS Canada
SEVENTH EVIDENCE / KA.MMEN Ukraine
SHELTER RED United States
SHELVING Switzerland
SHEPHERDS OF CASSINI New Zealand
SHRINEBUILDER United States
SIGH Japan
SIKA REDEM United Kingdom
SINISTRO Portugal
SISARE Finland
SKAGOS Canada
SKEWED SKIES Germany
SLEEP MAPS United States
SLEEPING IN GETHSEMANE United States
SMALLMAN Bulgaria
SMOHALLA France
SNOWBLOOD United Kingdom
SO IS THE TONGUE United States
SOEN Multi-National
SOLSTAFIR Iceland
SONS OF ALPHA CENTAURI United Kingdom
SOUTH HARBOUR Denmark
SPACEKING Russia
SPRING & YOUTH Serbia
STALINGRAD Spain
STANDING OVATION Finland
STARE AT THE CLOUDS Australia
STATS United States
STEAK NUMBER EIGHT Belgium
A STORM OF LIGHT United States
SUBROSA United States
SUBTERRANEAN MASQUERADE Multi-National
SUFFOCATE FOR FUCK SAKE Sweden
SUMAC Multi-National
SUNPOCRISY Italy
SUPERCONTINENT United States
THE SUSPENDED CONGRESS Ireland
SWARM OF THE LOTUS United States
A SWARM OF THE SUN Sweden
SWITCH OPENS Sweden
SYDERALUS Argentina
TACOMA NARROWS BRIDGE DISASTER United Kingdom
TARANTULA HAWK United States
TELEPATHY United Kingdom
TEMPEL United States
TENOCHTITLAN Russia
TEPHRA Germany
TERRA TENEBROSA Sweden
TESA Latvia
TETRAFUSION United States
THANATOSCHIZO Portugal
THE KOMPRESSOR EXPERIMENT Switzerland
THENCE Finland
FREDRIK THORDENDAL'S SPECIAL DEFECTS Sweden
THOSE DARNED GNOMES United States
THY CATAFALQUE Hungary
TIDES United States
TIDES FROM NEBULA Poland
TIME ZERO United States
TIMEWORN Norway
TITAN Canada
TO THOSE WHO EXIST Germany
TODTGELICHTER Germany
TOMYDEEPESTEGO Italy
TOOL United States
TOUNDRA Spain
TOWN PORTAL Denmark
DEVIN TOWNSEND Canada
TRANSMISSION0 Netherlands
TRAPPIST SYSTEM TRIO Russia
TREPHINE United States
TRIBES OF NEUROT United States
TROLDHAUGEN Australia
TRUTHSEEKER United States
TUSK United States
TWIN ZERO United Kingdom
UARAL Chile
UFOMAMMUT Italy
UNA CORDA United Kingdom
UNEXPECT Canada
UNHOLD Switzerland
UNSOUL Germany
UNTU United States
UPRISING FORMALHAUT Ukraine
URNA Italy
USER NE Spain
VAKA Sweden
VAN DIEMEN Australia
VANESSA VAN BASTEN Italy
VAURA United States
VED BUENS ENDE Norway
VERLIES France
VIRGIN BLACK Australia
VIRUS Norway
VISCERA/// Italy
VOID United Kingdom
VOID OF SILENCE Italy
VOID OF SLEEP Italy
VULTURE INDUSTRIES Norway
WASTE OF SPACE ORCHESTRA Finland
THE WATERS DEEP HERE United States
WE LOST THE SEA Australia
WE MADE GOD Iceland
WEAKLING United States
WHAT MAD UNIVERSE France
WHAT THE BLOOD REVEALED United Kingdom
WHEN DAY DESCENDS Australia
WHIRLING Sweden
WHOURKR Multi-National
WIDEK Poland
WINDHAM HELL United States
WINDMILLS BY THE OCEAN United States
WINDS Norway
ANDY WINTER Norway
WIZARD RIFLE United States
WOBURN HOUSE Germany
WOODS OF YPRES Canada
A WORKING MODEL United States
WORM OUROBOROS United States
WYTCHCRYPT United States
YAKUZA United States
YAVU Chile
YEAR OF NO LIGHT France
YOB United States
YTO SOLREISER Norway
ZEBULON PIKE United States
ZENI GEVA Japan
ZOZOBRA United States
ZVOYN France

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