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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 FANTÔMAS, 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
Karl (bonnek)
Kevin (Necroncommander)
Alex (Rune2000)
Thanos (aapatsos)
Dave (Prog Sothoth)

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

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JUDGEMENT
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WE'RE HERE BECAUSE WE'RE HERE
Anathema

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Latest Experimental/Post Metal Music Reviews


 The Tower by VULTURE INDUSTRIES album cover Studio Album, 2013
4.00 | 2 ratings

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The Tower
Vulture Industries Experimental/Post Metal

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars Norwegian band VULTURE INDUSTRIES have been around since 1998, at the start using the name Dead Rose Garden but from 2003 and onwards going with their current moniker. They have 3 EPs and 3 full length CDs to their name so far. "The Tower" is the most recent of the latter, and was released through French label Season of Mist in 2013.

Vulture Industries is one of the bands I have encountered that can't be readily placed into a readily defined box placed within any specific style of music, which for me is a good thing. Or rather, this is a metal band, and the way they create and perform their songs begs for progressive metal to be used as a genre description, but they don't adhere to any of the more common directions within this type of music. So while progressive metal is a defined box, Vulture Industries is among those bands that have a hard time fitting in with the great number of bands in that box that invites to associations towards the likes of Dream Theater or Symphony X. As far as I can tell, Vulture Industries doesn't have any connections to any of these bands whatsoever in terms of style, nor to any other influential bands of note I'm able to recall.

The main similarity I notes down to one specific band is one that mainly can be used as a comparison too, as I suspect that this particular case is one of this band inspiring another one rather than the opposite. The detail in question are the lead vocals of Björnar E. Nilsen, whose impressive theatrical voice is a trademark feature of this band. He can use hos voice in a more careful, cinematic way, but first and foremost his vocals are intense, big and theatrical. More sophisticated than the likes of Candlemass' Messiah Marcolin, but with some similar traits, and as far as direct comparisons go I'll pull out another Norwegian band - El Doom & The Born Electric. In this case I suspect that the latter has taken some notes from this band in that department however, as Vulture Industries have been around for a wee bit longer than El Doom and his merry musicians.

Musically we're dealing with metal. Hammering riff and drum cascades are encountered aplenty, with and without careful keyboards and organ support. Quirky riff constructions and staccato, intense riff constructions too, and there's always room for a melodic overlay too. Delicate guitar solo themes the main choice in that department. But sequences sporting a massive, booming bass guitar as the main driving force supplemented with delicate guitar details have their place too, and a recurring effect are dampened and fairly often playful piano details and motifs, and while perhaps a tad accidental I did get some ragtime associations when a few of those flavored the soundscape. Vulture Industries is also among the metal bands that have discovered the Mellotron, and they know how to use it with care and then to good effect. That this is a band that also know how to employ the occasional interlude of a more cinematic nature shouldn't be all that surprising, nor that there's some rather effective light toned, delicate guitars only sequences.

Amidst all the variations, effects and generally energetic, innovative and sophisticated progressive metal served us on a plate here, it is a compositions of a vastly different kind that impress the most. The song in question is called The Dead Won't Mind, and is a fairly delicate blues affair that have been run through a few sickly filters of the horror movie inspired kind. An honorable mention will have to go to bonus track Blood Don't Eliogabalus, a compositions that has a long running circus music inspired theme. Circus music of the kind that would have been a fitting soundtrack for Stephen King's IT I might add, but nevertheless themes and motifs that invite to circus music associations.

If you enjoy innovative and sophisticated progressive metal of a kind that cannot really be compared to any of the founding fathers of this type of music, have a certain fondness for music with a generally dark and ominous sound, and especially if you also enjoy big, theatrical lead vocals of the kind that are borderline pompous, Vulture Industries is a band you should investigate, and "The Tower" should be a good and intriguing first stop.

 Distant Satellites by ANATHEMA album cover Studio Album, 2014
3.74 | 139 ratings

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Distant Satellites
Anathema Experimental/Post Metal

Review by arcane-beautiful

5 stars Anathema to me can do no wrong. After their last album being an epic masterpiece, and their previous effort being a brilliant album in its own right, I was so incredibly stoked for this album.

The band have shown an almost found love for what they do after coming back from a hiatus in 2009, and their new reinvigorated sound means that the band have been able to release albums consistently every 2 years.

Musically the album takes a darker move than compared to their last two albums and touches upon some sounds from "A Natural Disaster." While "Weather Systems" was very much a bright and joyous album, this one touches upon more melancholic feelings. There are some very beautiful and joyous moments throughout, but this is definitely one of the bands darkest albums in the past few years.

The album also seems to have two very noticeable sounds. While the first half is very much a prog rock album, the other half dwells on more experimental and electronic sounds. Now it does make the album a little less cohesive, but it does make the album that much more interesting.

The opening track "The Lost Song Part 1" is an epic opener. Opening with some beautiful strings the song goes into an offbeat drum pattern with some brilliant instrumental decorations. A brilliant and passionate vocal performance from Vincent and Lee also adds a lot of depth to the song.

One of the biggest growers on the album would have to be "The Lost Song Part 2." While "Ariel" was tugging at my heart strings these past few days, this one has probably over shadowed it. In fact, this is definitely up there with my favorite Anathema songs and would probably be one of the most beautiful songs ever written. A beautiful arrangement and some heart felt vocals from Lee, the track can almost bring a grown man to tears.

My personal favorite track on the album would have to be "Ariel." An almost sister song to "The Lightning Song", it is a more melancholic departure for the band. Incredibly beautiful with some brilliant clashes and crescendos.

One of the darkest tracks on the album would have to be "Anathema." Building up and climaxing into and epic chorus and a pretty amazing ending guitar solo, the song is a very emotional track with some brilliant clashes and crescendos throughout.

"You're Not Alone" is a very interesting track. With some electronic beats and over layered vocals, the song bursts into a heavy and clashing ending. Probably one of the heaviest songs on the album.

The title track is an interesting take for the band. Focusing more on the electronic sound of the band, its a very soft song with some beautiful melodies. I do feel the song does drag on a tiny bit too long, but it is pretty good nontheless.

The albums ending "Take Shelter" is a very soft and beautiful way to end the album. With some light falsetto vocals from Vincent and trip hop inspired beats, the song ends very beautifully...as an Anathema album should do.

In conclusion, I don't prefer this to their last album "Weather Systems." But in all honesty, "Weather Systems" is probably one of my favorite albums ever recorded. This album is a brilliant follow up and a masterpiece of songwriting. Experimental and a step in the right direction, the band have again proved that they are probably the most interesting musical act going. This album takes a good bit of time to digest...but when it does, the after taste is sweeter than honey.

9/10

Genres: Progressive Rock, Experimental Rock, Electronic, Symphonic Rock, Art Rock, Post Rock, Pop Rock, Hard Rock, Trip Hop

Country of origin: England

Year of release: 2014

 _wE, Invaders by UNEXPECT album cover Singles/EPs/Fan Club/Promo, 2003
3.58 | 23 ratings

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_wE, Invaders
Unexpect Experimental/Post Metal

Review by siLLy puPPy

4 stars WE, INVADERS is the 2nd release by UNEXPECT in the form of a four track EP . It is the transitional link between their debut album "Utopia" which was firmly grounded in avant-garde death metal and the phenomenal masterpiece "In A Flesh Aquarium" where UNEXPECT tackles every musical genre and subgenre that exists and throws it all in a pot together. This album is the half way point between those two albums. I would say that it is a little closer to the following album rather than the previous as they are already adept at fusing many styles of music together seamlessly. It just doesn't sound as busy and densely packed with EVERY type of music.

It is also clear on this album that the template for their sound is based on classical music and it sounds like these musicians are classical trained and educated because they play this everything in a virtuosic manner. The piano runs can remind you of Mozart or Chopin while the violin sounds a lot like Paganini. On the metal side it can sound like traditional, death or thrash. Since the tracks are less busy they sound more melodic in a straight forward way as opposed to a poly-melodic one. One track "In Velvet Coffins We Sleep" is a remake of a track from the debut album while another "Chromatic Chimera" is a stripped down piano version of the track on "Aquarium."

All in all this doesn't sound like it should be an essential recording but I have really grown to love this band and I find myself picking this album up a lot because it is just so perfectly done. It certainly doesn't measure up to the following albums in complexity but that matters not for it is well-crafted and an enjoyable listen with a greater emphasis on classical melodic textures with subordinating metal and other musical genres. Not a masterpiece but a very strong album. Stripped down or gussied up, UNEXPECT is a band that delivers a unique musical experience unlike any other and this transitory EP is no exception.

 Distant Satellites by ANATHEMA album cover Studio Album, 2014
3.74 | 139 ratings

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Distant Satellites
Anathema Experimental/Post Metal

Review by blueavenger

3 stars Prog, post-rock, metal, borderline mainstream rock?

10 albums in, and it's hard to really know what to call this style of music, other than Anathema-style.

Yes, this is Prog Archives, so technically this is for progressive acts. Whilst this Liverpudlian 6-piece can't be said to produce much that could be considered prog rock, they could always lay claim to being progressive in their style of music, in much the same way Radiohead have moved through the gears from Grunge, Alternative, Prog, Avent Garde and now' Radiohead. With Distant Satellites though, I'm no longer sure that even that is now true of Anathema as it appears they have found their niche and their signature and are sticking with it resolutely, although that's not necessarily a bad thing. Satellites has some elements that are virtually interchangeable with Weather Systems , most notably the high-tempo, uplifting opening track, segueing into a soulful, pop-ballad second part. Similarly, the album closes with another variant of the chilled / spatial epic and you can also rest assured that each song is going to be loud and powerful at some point. Where their latest offering differs though is some of the texture and sound, with a more dolly mixtures style of song choice and order. Where Weather Systems benefited from a very consistent mood, theme and quality in the opening two-thirds (before a sharp nose-dive for the last three tracks), Satellites mixes things up a little bit, a little more in the style of A Natural Disaster, with some strong electronic flourishes and a high emphasis on atmosphere.

The afore mentioned 2-part Lost Song opens the album and serves as a reliably recognisable introduction, in much the same way Untouchable did. The time signature (5/4, is it?) is at least something novel and makes for an interesting edge to the song which is otherwise very similar to Untouchable in both its steady build to the satisfying midway arrival of surging guitars and also the way it can't quite keep the momentum going and loses its way a little toward the end. Lyrically it is simple and raw and anthemic, albeit in a punctuated way.

The way in which Part 1 gives way to Part 2 is also unerringly similar to Weather systems. A slow-paced, piano drive pop ballad serves to contrast to the rocking opener, but this one belongs solely to Lee Douglas vocally, unlike the duet from Weather Systems. Lyrically, this is very familiar territory, but the effectiveness of the song is raised significantly by Lee's finest vocal performance to date and some very polished production.

Dusk (Dark is Descending) is where Distant Satellites' problems start to become apparent. Dusk is a fine song in many ways with a reasonable acoustic riff, strong vocals and lot of passion, but it's also dripping in anonymity. A strong album needs consistency and a steady flow of good songs. By track 3, the stall is normally set: with Weather Systems we had the excellent, operatic storm surge of The Gathering of the Clouds that blended perfectly with the somber, emotional coda of track 2 and segued masterfully into Lightning Song. We're Here didn't have the same thematic conceptual link, but at least had some very fine contrast to the powerful Summernight Horizon with Dreaming Light's peaceful ode to love and life. Dusk, on the other hand, feels like pure filler and smacks of the same by- the-numbers construction methodology last heard on The Beginning and the End, which helped to bring the end of Weather Systems down with a dull thud. There's nothing remotely wrong with Dusk per se. It's just uninspired, derivative and without focus. It feels like it's been phoned in and it's a loss of momentum that occurs too early in the album.

Ariel, track 4, brings us back to Weather Systems territory and provides another radio- friendly anthemic bookend to the louder, more guitar-driven rock that had preceded it. The lyrics are simple again and the duet vocals work reasonably well, with Vincent Cavanagh's soaring voice accompanying a heavy mid-section and some well-considered chord progressions that were withheld from the start. Daniel Cavanagh's almost whispered vocal line at the end is another nice touch.

Breaking tradition with the songs that only have 2 parts (and I include The Storm Before the Calm in that too), the 5th track on the album is probably Distant Satellites' strongest moment. The Lost Song, Part 3, is an alternative take on the long-forgotten riff that served as the DNA to the opening two tracks on the album. It's a re-tread of part 1, to be sure (which presumably came first), but it's the stronger of the two, with alternating vocalists and more substantial lyrics and a satisfying climax that doesn't lose momentum or rely on repetition.

Anathema, the eponymous track, seems to be well revered amongst fans and it does offer a very apt tip-of-the-hat to their more classic Judgement-era Metal. The lyrics are decent and the vocals soaring (when are they not), but ' neat repeating piano hook aside ' it perhaps doesn't go where it could have gone and just culminates in an archetypal gothic metal guitar solo at the end, which probably goes on a few bars too long. It's good, but it's not the anthemic masterpiece that some might have you believe.

Track 7 marks the entry to Electronic territory and the beginning of a shaky path for the band, veering from sublime, to mundane, to ridiculous over the course of the next 4 tracks. You're Not Alone serves as Danny's sole lead vocal, although it's probably as much a bona fide vocal as Nick Mason's is on Pink Floyd's One of These Days. I've seen a review mention The Gathering of the Clouds as a reference point for this song, but they are poles apart: one is a swirling maelstrom of overlapping vocals and operatic orchestral, complimenting perfectly the songs it follows and precedes; the other, sadly, is a stark, loud and brash ode to Hail To The Thief-era Radiohead which runs maybe 60 seconds too long (and it's barely 3 minutes long as it is) and which sports a cool drum-and-bass loop, but then murders a great Steven Wilson-sculpted guitar thrash but replaying it at least twice as often as it should.

Next is probably the best 6 minutes on the album. Firelight is a Wine Glasses (Pink Floyd outtake) style serving of pure electronic ambience, cycling through some beautiful chords and ending on a lovely note that segues seamlessly into the title track of the album and the place where many Anathema fans have been polarised. Distant Satellites, the song, has been long in the gestation and had only recently found the right incarnation in the form of what could easily be described as club trance. How the song has finally been captured fits the band right now and where one of the directions they want to take their music. I get that and I think for more than half of its running time it works a treat. The electronic drum loop is marvellous and accompanies Firelight's warm organ sound perfectly before Vincent's dreamy pop-vocals come in. If you heard this on the radio, you might struggle to think that this was from a band that exists in the Prog world (however they may or may not respond to such labelling) or whether this was from something altogether more radio-friendly and main stream. My response to this is that there's nothing wrong with having a pop song thrown into the mix (there's at least one on every Steven Wilson band record) and the vocal hooks on this one are a knock-out, even if it does, for some reason, reminds me of Under Your Thumb by Godley and Cream.

But sadly, for me, and in a fashion too common on this LP, it loses its momentum just over half way through. After the baseline and the analogue beats have kicked in, we are promised another bi-polar Anathema experience as vocal chanting almost summons the track to ascend and reach a crescendo, only for it to plummet back to the median. When I first heard the song, I was sensing an extended instrumental sequence and then a surging final act, much like Genesis' sublime Tonight, Tonight, Tonight and, in truth, much in keeping with Anathema's tried and tested formula from recent records. But instead, what we're left with is a muted club 'doof-doof' beat, coupled with a harmless synth line that, whilst fine, isn't what it could have been and doesn't seem to suit the song. That the chorus returns and repeats itself far too often, somewhat spoils the effect of its first appearance, particularly as it doesn't work as well over the higher-tempo beats than it did over the synths and loop. The last thirty seconds of electro-dance outro and ok, but the damage is done and each time I hear this, I am left with the ironic notion that ' on this album at least - this was the one song that desperately needed an Anathema-branded surging climax, whereas there are plenty of others that need exactly that amputated from their production. Where songs like Thin Air, A Simple Mistake and Universal changed tact, pace or style half way through to resounding effect, Distant Satellites tries to do the same, but falls short.

After the potential high of Distant Satellites, Take Shelter becomes just a neat little footnote and a pleasant enough climax to the album: nothing more. It's well produced, although the drum loop doesn't really work, and has a fitting sense of closure to it, but it's more of an extended coda to another song altogether, rather than a song in its own right.

And there we have it. I've been on and off writing this review for a few weeks now and wanted to wait until had stopped playing the record endlessly to truly put it into context. Whilst I remain a very ardent (and recent) Anathema fan that will look forward to their next album (and especially to their first appearance in Australia in August 2014), I am left a little disappointed by the LP as a whole. It borrows much from both We're Here Because We're Here and Weather Systems, and every time it does, I find both predecessors superior. It's only where Distant Satellites departs from the tried and tested that it succeeds, but this is more sound and style then song structure and those experiments don't always work.

Whilst Anathema's destiny is interesting and promises much, there are aspects of their music that they need to try and evolve (particularly the monotone lyrics and highly repetitive themes of dreaming, new life and finding a soul mate), but also others where they need to look back to their previous works for inspiration. Yes this is probably a transitional album, and that's okay (if I can forgive Radiohead the truly uninspiring King of Limbs, then I can forgive anyone), but I've always found myself saying that their next album needed to be the masterpiece and this one wasn't, meaning the next one needs to be. I also think that, much as they want to avoid the 'Progressive' label, they would benefit from embracing some of the staples of the genre. When they've come close to this (the sublime Violence, the Floydian epic and the bombastic Calm Before the Storm), they've generally always pulled it off.

As much as the band should embrace new directions and fresh styles that inspire them, they also need to remember that great albums are born of great songs and an artistic direction and theme that captures a listener. It's an album that captures all of these elements that I would wish for next.

 Your Wandering Ghost by ETHERSENS album cover Studio Album, 2014
2.78 | 12 ratings

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Your Wandering Ghost
Ethersens Experimental/Post Metal

Review by Daggor

1 stars French progressive metal outfit Ethersens has released its second album, Your Wandering Ghost, this month on Scarlet Records (a label that we at Black Wind Metal have the utmost level of respect for). While both the label and the band's own website refer to the band as 'avant garde', don't be fooled: they're as pedestrian as any shoegaze-tinged post metal band, of which it seems like hundreds have inundated the progressive scene over the last few years. They're about 10 years past their chance to be innovative, but I won't hold false promotional promises against a band, especially when there's far more compelling things to hold against them. Foreshadowing!

I've acquainted myself fairly well with the post-scene over the last several years, and there are bands I certainly do enjoy. Take for example Sigur Ros, supremely talented in creating deep musical atmospheres that completely draw in the listener to a unique listening experience. There's also bands like Anathema, who mold the unique textures of post rock with absolutely stunning musicianship and songwriting. I enjoy bands that take something that is fascinating in a small dose, and break the genre in their own way. Ethersens' contribution to this movement is a world that's dark enough to be uncomfortable, without seeming altogether worthwhile.

Post/progressive metal lives and breathes dynamic emotion that brings the soundscapes to life. Ethersens however, impressed me significantly on the first song, and then significantly less on each subsequent track. They're taking a melancholy, borderline angry sadness, and slowing it down to absolute tedium to satisfy a directionless artistic vision. I can say by the time I was finished listening to this album, my only appreciation was a vague positive association I had with the guitar tone, which, although stronger as the album went on, ultimately qualified as polish on something I didn't care to look at to begin with.

For those with the endurance to sit through to the end, Your Wandering Ghost does end on two songs I can legitimately enjoy: "Waking Disorder" and "To Live Is To Forget". However, by now the damage is done. Ethersens manages to create sparks of brilliance at certain points throughout the album, but their ambition is simply less than their confidence. There is, I am sure, a kind of angsty listener with which this could potentially resonate well. However, there is nothing noteworthy I could really point out. For a progressive album, I am completely underwhelmed with the quality and creativity of the music, and there's not enough great guitar tones in the world to save an album from that.

1.75 // 5

 Hemmed by Light, Shaped by Darkness by EPHEL DUATH album cover Studio Album, 2013
2.96 | 4 ratings

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Hemmed by Light, Shaped by Darkness
Ephel Duath Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "Hemmed By Light, Shaped By Darkness" is the 6th full-length studio album by Italian (US based) avant garde metal act Ephel Duath. The album was released through Agonia Records in November 2013. Itīs been a couple of years since the release of "Through My Dog's Eyes (2009)", but mainman behind Ephel Duath, Davide Tiso have kept himself busy with his solo project Manuscripts Don't Burn and the "The Breathing House (2010)" EP and with the "On Death and Cosmos (2012)" EP released under the Ephel Duath monicker. "Hemmed By Light, Shaped By Darkness" features the same lineup that recorded the latter mentioned. Karyn Crisis (vocals), Davide Tiso (guitars), Bryan Beller (bass), Marco Minnemann (drums).

Stylistically the music on the album also more or less continues down the same path as the music on the "On Death and Cosmos (2012)" EP. Quirky, dissonant, aggressive and progressive extreme metal, thatīs very hard to describe correctly. Ephel Duath have always been a pretty unique sounding act, even though theyīve changed their sound quite a bit over the years. While some artists mellow and become more accessible over the course of their career, itīs like the exact opposite has happened with Ephel Duath, who since their early black metal beginnings have become more and more odd with each new release. Always challenging conventions and pushing boundaries.

"Hemmed By Light, Shaped By Darkness" is no exception and itīs overall an extremely challenging release. The music doesnīt feature many memorable hooks and the almost constant use of dissonance can be a bit hard on the ears. The musicianship are on a high level on all places. Personally I have a hard time appreciating Karyn Crisis raw, toneless and rather strained vocal delivery, but Iīm sure itīs a case of aquired taste and she is as such not a bad vocalist. Maybe itīs simply the quality of the material, thatīs making her performance stand out in a negative light. The word toneless actually describes the music pretty well and even when Karyn Crisis attempts to include a couple of memorable hooklines (like she does in "Tracing the Path of Blood") it all sounds more or less the same. And that is THE major issue with "Hemmed By Light, Shaped By Darkness". It might be professionally produced and powerful sounding and very well performed (the instrumental performances are outstanding), but itīs just not that memorable. Sometimes to a point where I donīt notice when one track ends and another begins.

So my criticism is a bit harsh this time around, but sometimes "Hemmed By Light, Shaped By Darkness" feels too much like art for artīs sake. An introvert release, that isnīt necessarily meant for the ears of an audience. In some ways itīs an intriguing experiment, but itīs simply too one-dimensional to be entertaining throughout the full playing time of an album. A 3 star (60%) rating isnīt all wrong.

 Universal by ANATHEMA album cover DVD/Video, 2013
4.47 | 88 ratings

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Universal
Anathema Experimental/Post Metal

Review by Tristan Zaba

4 stars Amazing show! Very unique in a lot of rather unusual ways.

The most obvious one is that it features an orchestra. The orchestra does add a lot, but it's used very sparingly. In fact, almost to the point of me being tempted to say that they're squandering the opportunity. However, after listening carefully and thinking about the music, it's not really the case. They use the orchestra as texturing in order to build up the almost mammoth soundscapes that form an integral part of their sound. Not how I would use an orchestra, but it works perfectly for them.

While it might just pertain to Anathema's discography in general, there also aren't a whole ton of individual songs that represent what I would normally consider highs and lows of the show. Instead, it is all very structureless and free-flowing. There are incredibly expressive dynamics and giant contrasts in this music, but they're usually very gradual transitions taking place over the course of several minutes. Generally they also run overtop of hypnotic repeated guitar themes that range from simple to quite amazingly intricate. In a sense, these guys are the kings of the rock ostinato.

As for the band's playing, it's truly second to none. To start with, they're amazingly emotional players. The delivery absolutely brings the music to life. I generally wouldn't say this sort of thing requires a whole ton of virtuosity, but in this case I am going to disagree with myself. Anybody that can manage to make a single repeating theme interesting to a crowd of prog fans for five minutes deserves a f#$king medal. The dynamics are beautiful, they are obviously ridiculously well rehearsed, the onstage energy is amazing, everyone's having fun, and everything is just generally great. Also, while the band deserves credit for creating these massive walls of sound, the singers also deserve to be noted for their amazing ability to cut through and be heard. Their voices are both great and are perfect for what they do.

In essence, an amazing live gig from an unexpectedly effective band. Definitely an excellent addition to the collection of any open-minded listener.

 Sunbather by DEAFHEAVEN album cover Studio Album, 2013
3.62 | 30 ratings

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Sunbather
Deafheaven Experimental/Post Metal

Review by Gallifrey

4 stars Divisiveness

I remember well the day that Sunbather first leaked. Well, I should, as it was only a month ago. But regardless, it was an interesting day. I had known of Deafheaven prior to the release of Sunbather, after Roads To Judah became part of The Great Black Metal Awakening Of Early 2013 (as I am now calling it), so Sunbather was certainly on my map for new releases. But I learnt of its leak from, of all places, 4chan's /mu/ board. It was everywhere. For every thread about its greatness, there was another thread about how it wasn't trve or kvlt and that real black metal isn't made by hipsters. It was quite interesting, in fact, to have the internet's most insanely stupid music board talking about black metal for a full 12 hours or so. But it most certainly shoved Sunbather right into my need-to-listen list.

Sunbather is a divisive record by the word's very definition. People are flinging abuse at each other from either side of the arguments, with good ones coming from both directions. I noticed, a couple of weeks ago, Alcest's Neige posted a link to Sunbather on their facebook page, calling it an "amazing record". But even then, fans were divided, with the top comment simply saying, "Actually, this album is bad. Really bad." 25 replies to that comment and a full thread later, and fans of one of the most divisive bands on the planet are arguing about another band who are seemingly even more divisive.

All of this, of course, is fueling the machine that is Deafheaven. They're [%*!#]ing loving it. Hype is an extreme force in the age of the internet, and these guys are lapping it up. I don't actually think they care whether or not people are talking positively, because people are talking. And, for the first time in possibly ever, black metal is at the forefront of the music industry. Fantano slapped a Light 8 on this, and even Pitchfork gave it 8.9 Best New Music, and when Pitchfork are giving a decent rating to something like this, it means that this scene is definitely on the way up.

Due to the extremely mixed and divided opinions on this release, I'm going to run through a few of them and give my thoughts on why groups of people think this.

Opinion I: It's bad because it's watered down post-black metal for people who don't like black metal.

For those who read the thread on Alcest's post, you'll see that that is a direct quote from one particularly disgruntled kvlt warrior. And, if I'm to be honest, he's right. I don't really like black metal. I find it difficult to listen to, and although I can see what people enjoy in it, I'd still prefer a bit of variation. And better recording quality. Black metal is supposed to be about sheer brutality. It's supposed to be about image. In the beginning black metal was more of a fashion statement than a genre, with many of the early artists condemning the death metal scene, particularly the Gothenburg bands, for "selling out" and heading towards mainstream. Black metal existed solely to be out-there and over-the-top. Their actions were purposefully gruesome and absurd, to try and alienate anyone who isn't kvlt enough.

And so, in this sense, Deafheaven must look like the antichrist. They have taken what is trve and kvlt and bottled it into little P4K-approved pink packages for the hipster realm to enjoy to their heart's content, because they think it's real black metal. Although personally, I think this honour should go to Alcest, who began this whole watered-down black metal thing, but at least Neige kept the image. Alcest's lyrics were dark and their imagery was pretty bleak too. But here are Deafheaven, with their button-up shirts and their blonde hair and their bright pink album cover. It's not [%*!#]ing brvtal at all. It's even called "Sunbather". Sounds like a [%*!#]ing indie pop record. Where's the corpsepaint? Where are the mutilated band members on the cover? Where's the sandpaper production and the lamp noises? "If it's not Burzum, it's bullpucky", as Cal Chuchesta rightly pointed out.

I don't even think I need to clarify why I think this argument is stupid, but it does have a point. People have unnecessary hatred towards bands who try and bring their style to the mainstream. And I understand, because it feels great liking someone that no one else does, but it's a bit of an elitist attitude. The original Norwegian black metal scene shared the same beliefs about 'mainstream' Gothenburg metal, but to be honest, most of them were Nazis just to put people off.

No argument here.

Opinion II: It's good because emotion

Well, yes, I guess. There is no shortage of emotion here, in both the music and the vocal delivery, combining the emotions of anger, hatred and frustration from black metal, and the emotions of euphoria and elation that stem from post-rock and shoegaze. It is most certainly gut-wrenching at times, but I guess this effect wears off after the fact that it seems to be the album's only asset.

If you've heard any album from this "Post-Black Metal" scene that's been emerging for the last few years, you know exactly the emotion Sunbather houses. I guess, if this was the only album you've heard from this style, then it would be impressive, and it would definitely rank highly in the ranks of emotional music. But this style of emotional delivery has been portrayed so many times before within the new black metal scene, and it feels a bit stale, running on clichés of crescendos laced with tremolo picking and blast beats for its emotional content. Even Alcest, with their mainly melodic and less raw approach reach a higher level of emotion in my opinion, and although it's great, this is hardly unique.

Opinion III: It's bad because those vocals are yucky

In the realm of holier-than-thou music criticism, a statement like this would be met with immediate ridicule. Music fans and critics jump to attack anyone who uses "I don't like the vocals" as a legitimate reason for disliking an album, saying that harsh vocals are amazing and just as good as cleans for everything, and if you don't understand or appreciate them then you are a plebeian and should kill yourself.

I try to be open-minded about music. I really try. I often feel my opinions don't count unless I can understand and appreciate all forms of music. And I do, to a certain level, at least more than most people. But in this case, and in several similar cases, you've just got to admit that those criticizing the vocals are maybe just a little bit right.

The vocals here are raw. Maybe not as raw as some 'trve' black metal, maybe due to the use of a proper microphone, but they are pretty chilling. They exist somewhere in the realm between black metal shrieks and the harsh screams associated with screamo music. But the problem I have with the vocals on Sunbather isn't necessarily that they're ugly, but that they don't really have any variation. Ugly is good, in context, and some bands realise that. But the fact that you have the vocals pummeling you for 50% of the album without cease gets a bit boring.

There are definitely moments where the vocals fit perfectly, the second half of "Dream House" and some of the moments in "Vertigo", but Sunbather could definitely do with some cleans or softer screams every once in a while.

Because, as close-minded as it sounds, the vocals are really the only think preventing me from giving Sunbather a higher score. The music here is phenomenal, really emotion-packed post- rock. Instrumental track "Irresistible" and the last few minutes of "The Pecan Tree" house some of the best music I've heard this year, but every time I hear it, I can't help but think that the vocals hinder this, rather than enhance it.

All of these opinions, including my own, are stupid in their own way, but have their merits to the discussion on this record. Regardless of whether you love it or hate it, Sunbather is definitely an interesting and defining record of the new 'blackgaze' genre, and after only a month it's already the most rated blackgaze album here sans Alcest/Amesoeurs. It's taken me a while, but I think I've finally settled on the "I like this" side of the spectrum, even if the vocals put me off at times. A solid release and a solid improvement over their earlier material, here's to hoping Deafheaven bring some more attention to black metal.

6.9/10

Originally written for my Facebook page/blog: www.facebook.com/neoprogisbestprog

 Earth 2: Special Low Frequency Version by EARTH album cover Studio Album, 1993
4.12 | 20 ratings

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Earth 2: Special Low Frequency Version
Earth Experimental/Post Metal

Review by siLLy puPPy

4 stars One of the benefits of grunge toppling the ever stagnating dominance of the glam pop metal scene was that formerly totally underground strains of music suddenly found an audience. Heavily influenced by The Melvins, the Olympia, WA based group EARTH released their debut album in 1993 and created some of the very first ambient metal that would pretty much kick off a whole new subgenre called drone metal. EARTH's music totally bucked the trend for metal to be heavier and faster with ever more complex compositions and impossibly fast solos. EARTH took the most extreme opposite approach and created a type of music that metalheads and punk rockers might listen to while they do yoga or soak in a hot tub or just want to chill out without leaving their favorite distorted music far behind.

This is an album that I find intriguing. The distortion is a satisfying way cool fuzz that feels as if the shadow of the underworld has cast itself in the light and and an impending dread that is simultaneously ominous and relaxing lurks about on every repetitiously decelerated musical motif. I find myself liking this on rare occasion but it is certainly a rare listen that demands the right mood. My main complaint is that if you want to endure the entire album it is quite lengthy with a running time of over 73 minutes. Of course, there is no law that dictates you must absolutely listen to the entire album. I find this kind of ambient metal most effective as a backdrop to other activities but it is entertaining in its own right, however as a nascent stage of drone metal I find EARTH 2: SPECIAL LOW FREQUENCY VERSION lacks enough diverse elements to keep me coming back to it on a regular basis. It is influential for sure but when the mood strikes to listen to this type of music I prefer the later albums by Sunn O))) or Boris. Still though, a must for aficionados of cutting edge ideas in the constant diversifying world of metal music. 3.5 rounded up

 Distant Satellites by ANATHEMA album cover Studio Album, 2014
3.74 | 139 ratings

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Distant Satellites
Anathema Experimental/Post Metal

Review by Finnforest
Special Collaborator Honorary Collaborator

4 stars Exquisite, refined rock

I'm not an Anathema fan and have owned only a few of their albums over the years. I've had one or two earlier albums and also a more recent release, Universal. The latter was very well done but like the earlier ones, never quite grabbed me by the throat. I wasn't expecting much with this one either but man did they execute here. They not only grabbed me by the throat, they threw me to the ground and pummeled me with clubs. Kidding, yes. I've seen some describe the band's sound as "heavy chill" which is a reasonable phrase, but I've always been just a bit let down by the similarity of the ride, track to track. That has changed with this one because the material is so instantly melodic and pleasurable, the sound so sweeping and cinematic, dramatic, the sonic equivalent of soft focus photography. The tracks play out in epic fashion, often including lovely, sentimental keyboard parts that soon build into pounding heaviness sometimes augmented by electronic atmospheric coloring. I love the heavy emphasis on piano and strings at play, very lush and dreamy to contrast the heavy parts.

What pushes it to another level completely is the quality of the harmonies between Cavanaugh and Lee Douglas, simply captivating and emotionally resonating for this listener. The arrangements and the songs themselves are just so much more interesting to me than anything I've heard them do before. It's also consistent as hell and emotionally moving throughout. Some folks seem disappointed with the album and I've seen some reviewers give it one star. Anathema may be in a tough spot similar to Porcupine Tree now. Many fans don't want them to change from a sound they love, others don't feel they can top previous achievements, so in essence expectations shape one's opinion. "Distant Satellites" may be Anathema's "The Incident" one reviewers notes and I think that's a good analogy. There is going to be some gnashing of teeth, but I personally find both albums to be stunning. I do believe this moody yet uplifting album will be in my top picks of the year, very satisfying.

Data cached

Experimental/Post Metal bands/artists list

Bands/Artists Country
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
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
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
APOCALIPSIS Mexico
APOCRYPHAL VOICE Finland
APOKATASTASIA Switzerland
APSE United States
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
THE ATOMIC BOMB AUDITION United States
ATROX Norway
AUSSITÔT MORT France
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
BLACK MATH HORSEMAN United States
BLACK SEA Brazil
BLACK SHEEP WALL United States
BLACKWAVES Germany
BLINDEAD Poland
BLOOD & TIME United States
BLUT AUS NORD France
BOBEL Costa Rica
BOSSK United Kingdom
BOTANIST United States
BRIDGES TO DREAMS Canada
BUNKUR Netherlands
BURIED INSIDE Canada
BURN DOWN ROME United Kingdom
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
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
COME SLEEP Sweden
COMITY France
CONIFER United States
CONSECRATION Serbia
CORMORANT United States
COSMONAUTS DAY Russia
COUNTERVELA Ireland
CRIB45 Finland
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
DETERIOR United States
DEVIL SOLD HIS SOUL United Kingdom
DIESTO United States
DIGRESSION ASSASSINS Sweden
DIRGE France
DISAPPEARER United States
DIVINA ENEMA Belarus
DØDSVERK Norway
DORNENREICH Austria
DOTZAUER Italy
DR. SLAGGLEBERRY United Kingdom
DRAWN Norway
DREARINESS Italy
DYING SUN United States
EARTH United States
EAST OF THE WALL United States
EBONY LAKE United Kingdom
ECHOES OF YUL Poland
ECHOSILENCE Estonia
EGOIST Poland
EHNAHRE United States
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
ETERNAL DEFORMITY Poland
ETHERSENS France
EVIL INSIDE Spain
EXOTIC ANIMAL PETTING ZOO United States
EXTINCTION ALGORITHM Romania
FALL OF EFRAFA United Kingdom
FALLOCH United Kingdom
FALLS OF RAUROS United States
FEN United Kingdom
FLEURETY Norway
FLOOD THE DESERT United States
FOLLOW THE WHITE RABBIT Russia
A FOREST OF STARS United Kingdom
FORMLOFF Norway
FOUNTAINHEAD Germany
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
GNAW THEIR TONGUES Netherlands
GODSEND Norway
GONIN-ISH Japan
GORDIAN KNOT United States
GOSPEL United States
THE GRASSHOPPER LIES HEAVY United States
GRAVITON United States
GRAYCEON United States
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
HEIRS Australia
HELLAS MOUNDS United States
HERETOIR Germany
HIPOSPADIA Spain
HUMANFLY United Kingdom
HYDRA Mexico
HYPNO5E France
IDENTIFIED United States
IDIOT SAINT CRAZY 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
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
KHEMEÏA France
KHOMA Sweden
KHUDA United Kingdom
KICK THE BUTTERFLY Australia
KINGDOM Belgium
KLABAUTAMANN Germany
KOLLWITZ Norway
KONG Netherlands
KONGH Sweden
KOSMOGRAD Canada
KRAKOW Norway
KRUGER Switzerland
KYLESA United States
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
LÖBO Portugal
LOOK TO WINDWARD New Zealand
LORUS United States
LUDICRA United States
LYE BY MISTAKE United States
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
MAUDLIN Belgium
MAUDLIN OF THE WELL United States
MENISCUS Australia
MINDFOLD EXPRESS Bulgaria
MINSK United States
MIOSIS Sweden
THE MIRE United Kingdom
MIRRORTHRONE Switzerland
MISANTHROFEEL Russia
MOD FLANDERS CONSPIRACY United States
MOLOKEN Sweden
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
MUTYUMU Japan
MY SILENT WAKE United Kingdom
MYSTER MOBIUS Multi-National
MYSTIC Netherlands
NAHEMAH Spain
NAHRAYAN Spain
NANDA DEVI United States
NATIONAL SUNDAY LAW United States
NAUTICUS Finland
NEBRA Switzerland
NERO DI MARTE Italy
NEUMA Poland
NEUROSIS United States
NIHIL Serbia
NINTH MOON BLACK United States
NO MADE SENSE United Kingdom
NOCTIS Australia
NOEKK 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
THE OLD DEAD TREE France
OLD MAN GLOOM United States
OMB Israel
THE OMEGA EXPERIMENT United States
OMEGA MASSIF Germany
ORANSSI PAZUZU Finland
ORDO DRACONIS Netherlands
ØRKENKJØTT Norway
ORPHANED LAND Israel
ORTHODOX Spain
OSI United States
OSTROVA Spain
THE OTHER SIDE OF THE SKY United States
OUTOPSYA Italy
OVERMARS 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
PYRAMIDS United States
QUARANTADUE Italy
QUBE Poland
QUESTIONER United States
RADAR Finland
RADIATION 4 United States
RAIN DELAY Serbia
RAINROOM Finland
RAXINASKY Belgium
RED PAPER DRAGON United Kingdom
REFRACTION Ireland
THE REPTILIANS United States
RETURNING WE HEAR THE LARKS United Kingdom
ROSETTA United States
ROUTE NINE Sweden
RWAKE United States
RYOKUCHI Japan
SAL Y MILETO Ecuador
SCORCHED SHORE United States
SECONDSKIN United Kingdom
SENMUTH Russia
SENSUAL NOISE Belgium
SEPIA DREAMER Sweden
SEVEN United States
SEVEN NAUTICAL MILES Sweden
SEVENTH EVIDENCE / KA.MMEN Ukraine
SHELS United States
SHELTER RED United States
SHELVING Switzerland
SHEPHERDS OF CASSINI New Zealand
SHRINEBUILDER United States
SIGH Japan
SIKA REDEM United Kingdom
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
SOLSTAFIR Iceland
SONS OF ALPHA CENTAURI United Kingdom
SPRING & YOUTH Serbia
STANDING OVATION Finland
STATS United States
STEAK NUMBER EIGHT Belgium
A STORM OF LIGHT United States
SUBROSA United States
SUBTERRANEAN MASQUERADE United States
SUFFOCATE FOR FUCK SAKE Sweden
SUNPOCRISY Italy
SUPERCONTINENT United States
THE SUSPENDED CONGRESS Ireland
SWARM OF THE LOTUS United States
A SWARM OF THE SUN Sweden
SWITCH OPENS Sweden
TACOMA NARROWS BRIDGE DISASTER United Kingdom
TARANTULA HAWK United States
TEMPEL United States
TENOCHTITLAN Russia
TEPHRA Germany
TERRA TENEBROSA Sweden
TESA Latvia
TETRAFUSION United States
THANATOSCHIZO Portugal
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