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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)
Mike (TCat)

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

4.21 | 1578 ratings
LATERALUS
Tool
4.33 | 138 ratings
IMAGINARY SONICSCAPE
Sigh
4.22 | 706 ratings
PART THE SECOND
Maudlin Of The Well
4.20 | 664 ratings
TERRIA
Townsend, Devin
4.25 | 190 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.18 | 308 ratings
BATH
Maudlin Of The Well
4.18 | 331 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.15 | 598 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.16 | 387 ratings
THE MANTLE
Agalloch
4.14 | 714 ratings
JUDGEMENT
Anathema
4.14 | 352 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.19 | 155 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult Of Luna
4.13 | 267 ratings
IN A FLESH AQUARIUM
Unexpect
4.12 | 264 ratings
PANOPTICON
Isis
4.08 | 939 ratings
ÆNIMA
Tool
4.35 | 52 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.09 | 320 ratings
FABLES OF THE SLEEPLESS EMPIRE
Unexpect
4.05 | 906 ratings
WE'RE HERE BECAUSE WE'RE HERE
Anathema
4.16 | 116 ratings
THE PAINTER'S PALETTE
Ephel Duath
4.08 | 351 ratings
THE DEVIN TOWNSEND BAND: SYNCHESTRA
Townsend, Devin

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

IRLYA - IL Y A -
Mutyumu
OMEGA
Cancer Conspiracy, The
THE SECOND PHILOSOPHY
Nahemah
IN A FLESH AQUARIUM
Unexpect

Latest Experimental/Post Metal Music Reviews


 A Grey Sigh in a Flower Husk by BARONESS album cover Singles/EPs/Fan Club/Promo, 2007
3.62 | 12 ratings

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A Grey Sigh in a Flower Husk
Baroness Experimental/Post Metal

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

3 stars This is an early (in the terms of the bands involved) split album that was released to try to bring some attention to what were both sludgy sounding bands. All the tracks on this album were exclusive to this release, and for fans of Baroness and /or Unpersons, this is a big plus. Being a Baroness fan myself, I am mostly interested in their tracks, which are both quite stellar on this album, even though these are early tracks and it shows the band searching for their own sound.

It begins with Baroness featuring two songs, one of them a medium length song called "Teiresias" (over 6 minutes), which proves that the band was trying to find a niche with Mastodon fans. It's a heavy song, much heavier than the albums that would follow, with a lot more yelling/singing than what the average Baroness listener might be used to. It is also quite progressive and one that will appeal to the progressive metal listener. The 2nd track, though, is the real epic masterwork from the band and the one worth the price of admission. "Cavite" is a 12 minute monster which, except for the heavier vocals, points the direction that the band was to take for both the "Red" and "Blue" albums to follow. It is very dynamic and progressive, changing heaviness, meter, and style throughout, yet remaining heavy and also stepping out of the sludgier aspects of metal. This is one that will appeal to Isis fans.

The 2nd part of the album belongs to the more unfamiliar band "Unpersons". They have four tracks, 3 of which are around 3 minutes and the last one which stretches past 6 minutes. Their music is definitely more unhinged, with wild and wacky vocals, yet keeping a changing sludgy atmosphere, yet not really bogging things down much. It's the right amount of their insanity as much more might get to be a bit too much. However, with about the same amount of time total as the 2 Baroness tracks, it's the right amount. Most proggers might find this part of the album a bit too wild for their taste, but progressive metal lovers will also enjoy this, even with the insane sounding vocals. The last track has the trickiest aspects with meters and riffs going off everywhere, and it is fortunately their longest, which, on the 2nd half, goes off into some more experimental, noise rock territory.

Typically, I usually skip the Unpersons tracks, but when I'm in the right mood, they are quite enjoyable anyway, but their not as good as the Baroness tracks. Their tracks are a solid 4 star attempt, where Unperson's tracks tend to hand around the 3 star range with the last one of the bunch the best of them. This is a great EP/Split album for progressive metal heads, especially those that love their heaviness thick, sludgy and dirty. However, this will appeal to fans more than anyone. '

 Axiom by KILTER album cover Studio Album, 2020
4.00 | 1 ratings

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Axiom
Kilter Experimental/Post Metal

Review by nick_h_nz

— First review of this album —
4 stars [Originally published at The Progressive Aspect]

When someone describes a band as a power trio, I'm sometimes reluctant to listen. It's not that power trios don't exist, but quite often this term seems to be bandied about whenever a band has only three members. They might be a trio, but are they really a power trio? Kilter are, without doubt, a power trio. One of the most powerful trios I've come across, and almost immediately reminiscent of another powerful trio, Zu. But while most people will think of drums, bass and guitar being the principle instruments of a power trio, Zu (though they have expanded their line-up in recent years beyond the original trio) and Kilter use drums, bass and saxophone as the major aural force. And what a force! Zorn and Zappa crossed and mutilated into a frenzied attack of avant-garde jazz-metal fusion. It's a gloriously dissonant mix of free jazz, RIO, noise rock and metal.

Ax & Spear is a statement of intent, aggressive and malevolent. What's interesting, though, is the way that such unrestrained brutality is not omnipresent. The following Beasts of Summation (Intro) is one of several passages that pepper the album with far more subtle flavour. If we stick with the House of Mythology, this is more Ulver than it is Zu. Not only is it a delight to listen to in its own right, it provides a marvellous intro into Out of Kilter. This track is one of a couple to feature the vocals of Andromeda Anarchia, which are quite frankly disturbing and scary in equal measure. Definitely not to my usual taste, but they fit the music incredibly well and I come dangerously close to enjoying them! The music, regardless of the vocals, is superb and it roars and growls even more greatly than Anarchia. This song is an absolute highlight of the album. It's followed by Beasts of Summation (Outro), which works as well on this side of Out of Kilter as it did preceding it. For those wanting more, a full seven and a half minutes of Beasts of Summation can be found on Kilter's award-winning debut EP.

Vandermeer is a joyful breath of fresh air after New Sun (which I guess is like a New Moon, as the track displays a complete absence of the warmth and comfort the sun might normally provide). Short, bright and breezy, it ends abruptly in a squall, and From the Caves of Quarum begins. Quite what is improvisation and what is structured is as blurred and inconsequential as the lengths of the tracks. There is as much enjoyment in the shorter pieces as there is in the longer ones. None out-stay their welcome, and all know when their time is done. Caves is almost five and a half minutes long, and the following Detention is less than a minute, and both say all they need to say, and are equally enjoyable.

Kafkanated is another favourite track of mine on the album, it's playful jazz noir taken to all kinds of new levels (depths?), with a skittering doom drone scat. It's quite magnificent, and although I love it, I'm always quite thankful for Pluto is Not Just Rock, which follows, another favourite, although it pulls in a completely different direction, being quite minimalist in sound and structure. The contrast of this with Kafkanated is delightful. Pluto is reminiscent of King Crimson improvisations (particularly Starless and Bible Black era), but while it evokes the same feel, Kilter never sound like Crimson. Pitiless Garment follows and provides a sense of growing menace, which explodes into outright threat as Mover's Acid begins. This is another track where Anarchia provides her deranged vocals ? and once again they are perfect for the mood and the song. Screeches and wails that I doubt I could bare outside the confines of Kilter, but which somehow delight within.

After a brief excursion into what comes close to normality with Behind Your Door, the album provides another banger with final track Spherical Bastards, which I suspect may have originally been intended to be the title track, as that is how the album that was presented to me for review was titled. The beginnings belie the malignancy of the track. After two minutes or so, the sole guitar of the album (from Per Nilsson of Meshuggah) appears in incendiary fashion. The track spirals out in a loose fashion, before finally disintegrating. And if you listen to the album on repeat, you'll appreciate just how spherical these bastards are. The album loops back on itself in quite spectacular fashion. If I don't feel like playing the album on repeat, I'll often start with Beasts of Summation (Intro) and play through to Ax & Spear. That actually makes for a more logical sequence, perhaps, but I'm not sure a band called Kilter would ever wish to be logical.

Axiom is an off-kilter succession of musical experiments and improvisations. It is brutal and it is beautiful, often at the same times. It's not always an easy listen, but it's always an enjoyable one. It makes the unlistenable not only listenable but thoroughly engaging. It's genuinely alarming and gloriously absorbing. The music of Kilter is powerful and expressive in a way that blows away what most bands labelled "power trios" are creating today. Harsh, heavy and hellish, and downright addictive, Kilter's cross-genre eclecticism may be too much for some listeners, but if you're feeling adventurous, I urge you to give this a go!

 Endless Twilight of Codependent Love by SOLSTAFIR album cover Studio Album, 2020
3.35 | 8 ratings

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Endless Twilight of Codependent Love
Solstafir Experimental/Post Metal

Review by lukretio

3 stars Sólstafir have lurked for years on the boundaries of my musical radar, but it is only with their seventh album, Endless Twilight of Codependent Love, that the Icelanders have fully captured my attention. The band needs little introduction to a metal audience. Starting as a black-metal trio, they quickly evolved into a post-metal / post-rock act, with a distinctive sound that retains the noisy grittiness of their black origins, but opens it up to vast melodic vistas saturated with melancholia and nostalgia. With lyrics often written in Icelandic and sung by Addi Tryggvason in a coarse and unpolished vocal style, Sólstafir sound pretty much like no other band.

On Endless Twilight of Codependent Love, the band continue to refine their unique style suspended between beauty and ugliness, melody and noise, awe and anger. The class and nonchalance with which they flip between these extremes is astounding. For example, in the middle of the album we are faced with a fast, blackened assault with shrieking vocals and thunderous drums ("Dionysus") that is enclosed between two slow, heart-rending ballads ("Her Fall from Grace" and "Til Moldar"). The sequence of tracks sounds improbable, but Sólstafir somehow manage to pull it off, making the transition feel natural, almost inevitable. Elsewhere, we are surprised with a foray in bluesy territories ("Or"), while opener "Akkeri" displays the dirtier rock side of the band, with walls of fuzzy guitars (what a gorgeous sound!) coming and going in waves as Addi Tryggvason screams all his anguish at the top of his lungs. Other tracks follow a more standard post-rock canon, with slow build-ups that stretch the music into lysergic shapes ("Drýsill"; "Rökkur"; "Alda Syndanna").

The varied assortment of influences and styles could have quickly spiralled out of control in less capable hands. Yet Sólstafir manage to merge them into a coherent whole, making each influence their own. The end result is that one feels that it is not so much the various genres Sólstafir borrow from that define their identity, but rather the other way around: they make each genre sound like Sólstafir.

It's a remarkable display of maturity from four musicians that clearly feel confident in their own skin. The risks they occasionally indulge in taking throughout Endless Twilight of Codependent Love are witness to this. In the middle of "Akkeri", for example, the song breaks down before reprising with a loud metronome click dominating in the mix. It's disorienting at first, but it somehow makes sense in the context of the piece. Or take "Rökkur", one of the best tracks on the album: it opens slowly with orchestral flourishes that remind me of King Crimson's "Moonchild", before developing in a rumbling low-tone drone with hallucinated vocals, a strange combination that gives the track a mesmerizing atmosphere.

Endless Twilight of Codependent Love is not all roses and rainbows, though. Compositionally, some pieces feel a bit drawn-out and repetitive, and would have probably benefitted from some cutting down ("Her Fall from Grace", for instance). The album as a whole is also quite lengthy (1 hour and 18 minutes with the two bonus tracks; still in excess of 1 hour without bonus tracks) and I confess that a tad of listening fatigue started to kick in towards the end of the album. Then there is Addi's voice, strained, half of the time on the verge of breaking out of tune: it is definitely an acquired taste ? like it or hate it. I personally find it full of pathos, but I can see how some might be put off by it.

Nevertheless, Endless Twilight of Codependent Love is a strong album. Packed with a high dose of crescendos and desperate melodies, it makes for a bleak but somehow moving and uplifting listening experience. And while it may not win any new converts to the band, it will no doubt not fail to impress those who already count Sólstafir among their favourite bands.

(Originally written for The Metal Observer)

 All Is One by ORPHANED LAND album cover Studio Album, 2013
3.62 | 196 ratings

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All Is One
Orphaned Land Experimental/Post Metal

Review by mohaveman

3 stars " Evil falls on each of us there's nothing new. Who cares if you're a Muslim or a Jew? The awakened ones are nothing but a few. And the one to make the difference now is you! " - From All is One.

This album from 2013 shows a slightly calmer and more mainstream side of Orphaned Land. Less growls and churning dark music than previous releases. Which is not to say it is a bad release. I enjoy most of the album with a few exceptions. "All is One" is a fantastic opener with oriental touches that instantly drew me in. The next 2 songs, "Simple Man" and "Brother" I also particularly like. The rest of the album is a bit hit and miss but there are no weak numbers, just not as strong as the opening 3 tracks. I would give this a 3.5 rounded down to a 3 because my attention wanders towards the end.

 Order of Magnitude - Empath Live Volume 1 by TOWNSEND, DEVIN album cover Live, 2020
4.08 | 3 ratings

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

Review by javajeff

4 stars Order of Magnitude - Empath Live Volume 1 is another solid live album from Devin. I only have the audio version, so my review will be based on the music alone. I likely will catch some of the video online, but I rarely watch music videos at home on a TV. Anyone that loves the latest studio album Empath will be happy to have many of those songs in a live setting. Devin does not disappoint with a fantastic performance, and this live show also features his amazing personality. He comes off as gracious, humble, and fun... and that makes it easy to be a fan. The Zappa-esque performer has the audience passing drinks around, and gets busy with a disco tune Disco Inferno. The entertainment value is always huge with a live show from Devin even if you only listen for the music. The sound quality of this performance is solid, and it feels like a live studio album. He included some favorites like Coast, Deadhead, Lucky Animals, and Kingdom. I actually love Devin's live albums as each one has a personality, and I may listen to them more than the studio albums. I am really enjoying this album, and continue to support him as he is one of my favorite artists. Order of Magnitude - Empath Live Volume 1 is a continuation of excellent performances showcasing Devin Townsend's latest material. Any fan would enjoy the music here, and I will stick this on my earbuds and get outside.
 Mestarin kynsi by ORANSSI PAZUZU album cover Studio Album, 2020
3.33 | 34 ratings

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Mestarin kynsi
Oranssi Pazuzu Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "Mestarin Kynsi" is the 5th full-length studio album by Finnish, Tampere based act Oranssi Pazuzu. The album was released through Nuclear Blast Records in April 2020. It´s the successor to "Värähtelijä" from 2016 but although there have been four years between the two album releases, Oranssi Pazuzu have not layed low in those years as they released the 2019 Waste of Space Orchestra collaboration album "Syntheosis". An album where Oranssi Pazuzu collaborated with members of fellow countrymen Dark Buddha Rising. There´s been one lineup since the predecessor as guitarist Moit has been replaced by Ikon.

Stylistically the material on "Mestarin Kynsi" is psychadelic blackened rock/metal, influenced by 60s/70s krautrock and spacerock artists like Hawkwind, (early) Pink Floyd, and Can, but with an occasional metallic edge and black metal type screaming vocals (screaming out Finnish language lyrics). The music is raw, repetitive, and hypnotic in nature. Sometimes building from a low volume opening to a loud noisy climax, and other times just full-on rocking from the opening to the end of the track (an example of the latter is the closing track "Taivaan Portti").

The sound production is not lo-fi, but it´s deliberately made to sound like it was recorded live in the band´s rehearsal space, while all the members of the band were trippin´ on bad acid. It´s a savage nightmarish affair which sounds like it was born from endless drug-fueled jamming. There are both mellow and more noisy moments on the album, and some of the latter are so noisy and messy that the wall of sound of drums, two guitars, bass, organ, and vocals, drown each other out, and has the effect that the music becomes a white noise drone (again "Taivaan Portti" comes to mind as a good example of that). I´m sure it´s exactly the effect the band were aiming at, but it´s not for the faint at heart, and it´s not exactly easily accessible music.

So "Mestarin Kynsi" is an album to the listener who enjoys jam-like, repetitive, and hypnotic music. There is structure here, but not regular vers/chorus structures. It´s continuously moving and evolving structures and you´ll have to listen a long time for reoccuring themes or conventional hooks. In that respect the material on "Mestarin Kynsi" is highly experimental, which of course isn´t a surprise if you´re familiar with the band´s preceding releases or their influences. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives)

 Ashes Against the Grain by AGALLOCH album cover Studio Album, 2006
3.89 | 231 ratings

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Ashes Against the Grain
Agalloch Experimental/Post Metal

Review by Hector Enrique

4 stars The snowy and gloomy landscapes, the darkness, and the constant tension sum up what is Ashes Against The Grain, Agalloch's third work. The topics are developed extensively, without rush or urgency, time does not seem to be relevant. Powerful and distorted guitars to the maximum, are set against absolutely crystalline moments, tinged by disturbing atmospheres that seem to presage some fatal outcome.

The album begins with the superb Limbs, almost 10 minutes that go through half times, imposing guitars, two small acoustic interludes, keyboard included, and the guttural voice of John Haughm, to complete a chilling atmosphere. Falling Snow maintains the character of Limbs, but with greater dynamics. After the concise and nature-themed This White Mountain on Which You Will Die, comes a fantastic combination of folk and doom with the extremely melancholic and painful Fire Above, Ice Below, and this time Haughm's clean voice that gives it another tone is, in my opinion, one of the best songs on the album. It shares that honor with the dizzying and dramatic Not Unlike The Waves, another lengthy display of the consistent musical wall that the Agallochs flawlessly build.

The work concludes with the three-part suite Our Fortress Is Burning, which lowers the beats and languishes in ambient developments interrupted only in part II by a couple of verses sung with the guts, and a haunted part III and its haunting and endless suspense, which ends up fading without specifying what it seemed to offer. The concept of the entire album however remains intact.

Ashes Against The Grain is a very good musical work, with a remarkable production and without a doubt recommended for those who enjoy the heavier genres of progressive rock.

 Audio Noir by BOSSK album cover Studio Album, 2016
3.00 | 1 ratings

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Audio Noir
Bossk Experimental/Post Metal

Review by FatherChristmas

— First review of this album —
3 stars Bossk are a post metal band from my area in Kent. I only live about a mile away from their home town, Ashford, and I've even seen their drummer Nick Corney about town a few times. Well, they are a very interesting band, interesting enough for me, a very unlikely post metal fan (not even much of a fan, either), to like their music.

So, their debut opens with the instrumental "The Reverie". It begins very quietly, just some soft guitar chords and synths. It gets a bit louder when the drums come in, but really it doesn't change much; just a very relaxing, calm piece of music. Only towards the end are you reminded this is a metal band at work: harsh, loud guitar and heavy drums end the track. Other than that, you wouldn't guess.

"The Reverie" flows seamlessly into "Heliopause", opening with similar heavy guitar/drums. The lyrics are screamed unintelligibly over the noise, almost confirming they are a thumping metal band rather than ambient rock. It's like this the whole way through, until it ends, and the next track succeeds it.

The next track being another instrumental - "Relancer". It is more similar to "The Reverie" in that the music is soft and relaxing, it steadily builds up, and there is very little change until five minutes through. Then it breaks down and a different riff is pursued, which also builds up, but much faster. Then it breaks down all over again, and the next song, "Kobe", continues the album.

"Kobe" is not much different in structure, relaxing up to about four minutes through when the drums start banging and the singer starts screaming. Hard to describe this song, but it's pretty fun, and the finale makes it my second favourite track on the album.

After the banging and crashing of "Kobe", "Atom Smasher" promises to continue the trend. Odd time signatures, experimental riffing, unpredictable stops/starts, growled vocals... you guessed, my number one favourite on the album.

"Atom Smasher" bangs on for a full eight minutes. The next track, "Nadir", is predictably quiet, opening with some lovely piano chords. No vocals, just a calm piano dominated ostinato. Drums come in at the end, but it is still not loud, calm to the end.

With "Nadir" ending, "The Reverie II" opens with a drum machine, soon followed up by soft guitar. It becomes much heavier at about two minutes through, and continues to build up until the end, containing a loud, uproarious finale.

For my conclusion, I present my personal two le grande requirements for a five star album:

1. The songs must all be excellent.

2. It must work brilliantly as an album.

Both of them are nearly met, yet both have imperfections. Not all the songs are excellent, some only mediocre, and this is because little change occurs in some of the songs, which makes it a bit boring. For requirement two, the album works in that all the songs flow into each other perfectly. It's just what I noted before - it's a bit boring after a while, and it might you fall asleep. The combined effect of this takes two stars off for me, otherwise it's a good album - very good, since I gave it an average rating and I'm not even a post metal fan.

So it's three stars. End of another review.

 Phanerozoic II: Mesozoic | Cenozoic by OCEAN, THE album cover Studio Album, 2020
4.04 | 56 ratings

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Phanerozoic II: Mesozoic | Cenozoic
The Ocean Experimental/Post Metal

Review by ssmarcus

4 stars The Ocean have spent the last two decades firmly establishing themselves as one of the most prominent and respected progressive metal acts of the 2000's. Their lean but nearly flawless discography has pushed their brand of adventurous post-metal, sludge, and groove into progressive metal's inner sanctum of stylistic variations. The ground covered by their music literally spans eons all while managing to address itself to man's frail existential condition.

Take their latest record, Phanerozoic II: Mesozoic | Cenozoic, for example. The third and ostensibly final installment of a trilogy of albums, the first being 2007's Precambrian and the second being 2018's Phanerozoic I, completes the band's ambitious attempt to cover, via their music, the entire natural history of planet earth from its fiery inception, its multiple dramatic and tragic extermination events, and all the way through to the present geological age. Of course, the geological history functions, on all three records, as a mediation and, at times, extended metaphor for man's place in the entirely incomprehensible and cyclic vastness of creation.

While Phanerozoic II is a decent record and arguably fitting closure to the geological saga, I think longer time fans like myself are likely to find it a tad underwhelming. The record covers no new ground not already explored in previous releases and, most damningly, has far fewer memorable riffs and melodies. Still, I think the record is an excellent way for newer fans to get introduced and it still holds up as one of 2020's stronger releases.

 Metridium Field by GIANT SQUID album cover Studio Album, 2004
3.57 | 31 ratings

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Metridium Field
Giant Squid Experimental/Post Metal

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

3 stars The Sacramento, CA based GIANT SQUID first caught the world's attention with its debut "Metridium Field" in 2004 due to the fact it was produced by Billy Anderson of Neurosis, Melvins, Mr Bungle and High On Fire fame. This caught the attention of The End Records not only due to Anderson's involvement but because of the band's unique mix of sludgy doom metal, progressive rock, indie rock and psychedelia. The band was founded as far back as 2002 by Aaron John Gregory (guitar, lead vocals), Bryan Beeson (bass guitar), Bill Hughes (guitar), and Aurielle Zeitler (keyboards, vocals) after several members had played under the moniker Koi and Namor.

While "Metridium Field" was self-released, in order to get a record deal with The End Records, it was required to re-record that album and after that process was all said and done, the band released its label debut as METRIDIUM FIELDS two years later in 2006. The album hit a strong note in both the metal and prog communities as well as sparking interest from more adventurous indie rockers. With a playing time of almost an hour that includes eight tracks, METRIDIUM FIELDS hosted an impressive cast of musicians that included a few guests that played several interesting instruments as the panpipes, shenai, ocarina, Hammond organ and trumpet which gave the album a very interesting and unique sound indeed. Also unique to the band's sound was the inclusion of theremin, banjo and a variety of percussion.

While included in metal databases due to the ample amount of sludgy doom metal present, METRIDIUM FIELDS favors the prog end of the spectrum with lengthy sprawling epic sounding compositions that borrow a thing or two from the processional style of post-rock and then fortify the callithump of creativity with the aforementioned tones and timbres of the instruments at hand. Some of the tracks don't even sound like it's the same band especially when Aurielle Gregory is performing vocal duties such as on the near 10 minute "Versus The Siren" which focuses on an atmospheric ethereal surrealism over the otherwise groovy rock riffing sessions that make up the lion's share of METRIDIUM FIELDS.

Aaron Gregory provides most of the male vocals and sounds like he's indecisive in his direction. While Neurosis is a clear influence in his shouty declarations and vocal angst, at times he sounds like he wants to be a punk rocker and other times a quirky indie rock star but often comes across as someone who listened to a lot of retro prog especially the moments when the 70s organ attacks swell like inflammation of an arthritic princess with gout. Add the sound effects and vocal samples and it's clear rather quickly that GIANT SQUID strived to add as many disparate sounds, styles and emotive conveyances as possible without sacrificing the underlying post-rock cyclic rhythmic cycles that generate an hour's worth of playing time.

For all METRIDIUM FIELDS has going for it, i still fail to connect with this album on many levels as it seems that the overarching vision has been sacrificed in order to stuff in as many variations of sound, style and instrumentation as possible without going totally Mr Bungle on us. In other words, the ideas on this album just don't hang together as successfully as they should. The little experimental bout with weirdness in the form of "Eating Machine" that provides an intermission of sort just sounds completely out of place and while any given track sounds decent in its own right doesn't seem to fit in with a larger concept. Usually this doesn't bother me but when an underlying post-rock sentiment is expressed it seems like it's less forgiving when experimentation doesn't connect somehow. Overall METRIDIUM FIELDS is a decent label debut by GIANT SQUID but this is the kind of album i can appreciate but am more annoyed but how i think it should have been rather than accept it on its own terms. Oh well, they can't all be zingers for all of us and this one falls short of supreme zingatude.

3.5 but rounded down

Data cached

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
AUSSITÔT 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 BJØRNSON & 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
BLUT AUS NORD France
BOBEL Costa Rica
BOSSK United Kingdom
BOTANIST United States
BRAIN TENTACLES United States
BRIDGES TO DREAMS Canada
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
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
DIRGE France
DISAPPEARER United States
DIVINA ENEMA Belarus
DØDSVERK Norway
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
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
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
GORDIAN KNOT United States
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
HEIRS Australia
HELIUM HORSE FLY Belgium
HELLAS MOUNDS United States
HERETOIR Germany
HESPERIAN DEATH HORSE Croatia
HIPOSPADIA Spain
HUMANFLY United Kingdom
HVØSCH 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
KHEMEÏA France
KHOMA Sweden
KHÔRADA United States
KHUDA United Kingdom
KICK THE BUTTERFLY Australia
KILTER United States
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
LITURGY United States
LÖBO Portugal
LOOK TO WINDWARD New Zealand
LORUS United States
A LOST STATE OF MIND United States
LOTUS THIEF United States
LUCID PLANET Australia
LUDICRA United States
LYE BY MISTAKE United States
MADÁRFOGÁS 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 MÖBIUS 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
ÖOOOOOOOOOO France
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
OUTRUN THE SUNLIGHT United States
OVERMARS France
ÖXXÖ XÖÖX 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
QUALEACEANS United Kingdom
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
RIVIERE France
ROSETTA United States
ROUTE NINE Sweden
RWAKE United States
RYOKUCHI Japan
RYR Germany
SAL Y MILETO Ecuador
SALVICTION Poland
SANNHET 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
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
VANESSA VAN BASTEN Italy
VAURA United States
VED BUENS ENDE Norway
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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