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EXPERIMENTAL/POST METAL

A Progressive Rock Sub-genre


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Experimental/Post Metal definition



Experimental Progressive Metal

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

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

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

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

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

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

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


Post Metal

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

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

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

Variations of Post-metal

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

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

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

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


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

The Progressive Metal Team
Karl (bonnek)
Kevin (Necroncommander)
Alex (Rune2000)
Thanos (aapatsos)
Dave (Prog Sothoth)
Louis (rdtprog)

Experimental/Post Metal Top Albums


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

4.22 | 1410 ratings
LATERALUS
Tool
4.23 | 668 ratings
PART THE SECOND
Maudlin Of The Well
4.32 | 125 ratings
IMAGINARY SONICSCAPE
Sigh
4.18 | 614 ratings
TERRIA
Townsend, Devin
4.25 | 175 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.19 | 311 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.15 | 663 ratings
JUDGEMENT
Anathema
4.14 | 553 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.17 | 286 ratings
BATH
Maudlin Of The Well
4.15 | 361 ratings
THE MANTLE
Agalloch
4.16 | 259 ratings
IN A FLESH AQUARIUM
Unexpect
4.14 | 311 ratings
FABLES OF THE SLEEPLESS EMPIRE
Unexpect
4.19 | 140 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult Of Luna
4.13 | 319 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.40 | 45 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.09 | 838 ratings
∆NIMA
Tool
4.11 | 247 ratings
PANOPTICON
Isis
4.41 | 41 ratings
FEA JUR
Lye By Mistake
4.05 | 863 ratings
WE'RE HERE BECAUSE WE'RE HERE
Anathema
4.16 | 111 ratings
THE PAINTER'S PALETTE
Ephel Duath

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

TRANSMUTATIONS
Yakuza
K÷LD
Solstafir
IN A FLESH AQUARIUM
Unexpect
POWER H÷R
Lesbian

Latest Experimental/Post Metal Music Reviews


 Souvenirs D'Un Autre Monde by ALCEST album cover Studio Album, 2007
3.78 | 134 ratings

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Souvenirs D'Un Autre Monde
Alcest Experimental/Post Metal

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

2 stars ALCEST, although a complete band, wasn't always so. While founded by Neige in 2000 (about the same time he joined Peste Noire), the original band that consisted of Aegnor and Argoth soon imploded after the demo "Tristesse Hivernale. " The two members soon departed leaving Neige as a one-man band for eight long years before a new lineup would occur. This debut SOUVENIRS D'UN AUTRE MONDE ("Memories From Another World"), having been released in 2007 which is the year before a new band would emerge, is in effect a solo album by Neige. This is the Neige show where he tackles lead and backing vocals, guitars, bass, keyboards and drums. There is for a short time one guest vocalist, Audrey Sylvain, on "Sur L'autre Rive Je T'attendrai."

Since SOUVENIRS D'UN AUTRE MONDE is a Neige solo album in disguise, it is of no surprise that it sounds quite different than the albums such as "…cailles De Lune" that follow. While the band has been tagged as shoegaze, blackgaze, post-rock and experimental metal, this debut yields very little in the metal department and is in effect a post-rock album that happens to have a guitar chords that ruffle their feathers to look bigger than they actually are. Like most post-rock, SOUVENIRS relies on a hypnotic run of soft dreamy guitar arpeggios and riffs that ratchet up the tension and ultimately find some sort of crescendo. The overall mood of the album is dark, dripping in nostalgia, rueful regret and euphoric yearning for blissful peace.

It's hard for me to review this album because in all honesty because i find it utterly boring. While this debut has been lauded since ALCEST first hit the scene in the mid naughts, i have had a very difficult time understanding why this clicks with so many and yet leaves me as cold as a whale's ass in the Arctic Ocean. While the future albums are actually quite engaging, this one seems to juxtapose all the wrong elements together in all the wrong places, at least for my tastes. First of all, the vocals are the most annoying of all, sounding like some indie pop twee garage band from small town USA. Despite being tagged metal, there are no metal vocals whatsoever with completely clean vocals dominating the entire album's run.

Secondly, this album chugs along at a snail's pace and never really engages in any dramatic changes. This is a true zone out album if i've ever heard one. While i love post-rock, indie rock, indie pop, post-metal and all the genres this is purported to be, SOUVENIRS is simply mediocre all the way around. It is a lazy breezy type of album that just floats by on codeine with no dramatic passages really ever emerging from the nonchalant drifting through the proper post-rock expectations. Next complaint, the instrumental parts just don't work together for my liking. Neige attempts to deliver black metal attributes such as tremolo picking and guitar solos but performs them so half-assed that it sounds too ridiculous for black metal and likewise sounds too out of character for post-rock.

I can understand some music lover's infatuation with emotional content being enough to make a good album but that is not the case with yours truly. Emotional connections in a pool of mediocrity equals, well, mediocrity. Probably the most competent aspect of SOUVENIRS is the production and mixing job. I do have to admit that the atmospheric qualities work quite well and indeed in retrospect ALCEST was one of the big players that brought the term blackgaze into existence with their debut EP "Le Secret," however Neige got all wimpy with the black metal aspects without jettisoning them all together which creates a rather tenuous vacuous tinniness within the overall structure of the compositions. Well, i'm glad some people can find pleasure in this debut by ALCEST because i sure can't, but i'm all on board starting with the second album.

 El Norra Alila by ORPHANED LAND album cover Studio Album, 1996
3.47 | 72 ratings

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El Norra Alila
Orphaned Land Experimental/Post Metal

Review by The Crow
Prog Reviewer

3 stars El Norra Alila is another Orphaned Land's journey in search of their true sound!

And on this attempt, they added even more elements to their mix. Dozens of oriental instruments which are more prominent than in Sahara, female vocals, choirs, Arabic chants, percussion, violins... But the result is nevertheless not so far from their debut album, sounding this record too immature compared to their later works, when they truly developed their authentic sound and personality.

But the album has its moments and is rather enjoyable despite being too long and lacking more catchy melodies. They increased the epicity of the songs, with great guitar solos from the very gifted Yoshi Sassi, and they added more clean vocals and tons of keyboards, being this album more accessible and easier to hear than previous records.

The production and musicianship are also good enough, and I can imagine that this album was not easy to make!

Best Tracks: Find Yourself, Discover God (powerful opener), The Truth Within (great guitar solos), A Never-ending Way (good slow track), Of Temptation Born (the best riffs of the album), The Evil Urge (in this precious acoustic track can we hear what a great singer Kobi Fahri is)

Conclusion: it's easy to hear that the band invested great effort and that they tried really hard with El Norra Alila to surpass the quality of their debut Sahara, crafting a pair of good songs in the process (sometimes even very good)

Nevertheless, is a record that you can easily avoid if you are not a die-hard fan of the band.

My rating: ***

 The Water Sprite by NOEKK album cover Studio Album, 2005
3.30 | 13 ratings

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The Water Sprite
Noekk Experimental/Post Metal

Review by TCat
Prog Reviewer

4 stars Noekk is a continuation of the doom metal band Empyrium. The two musicians responsible for the band play all of the instruments between the two of them. The name Noekk comes from folklore about a water creature that can change into a beautiful white horse who gets human riders and then carries them to their death in the water. The music veers away from metal exploring way beyond its boundaries, but remains dark.

The band's first album is "The Water Sprite". The topic of the lyrics has mostly to do with dark folklore. Most of the music is spontaneous with a fairly free structure, but cohesive enough to avoid a lot of dissonance. It is quite accessible as far as progressive music goes, while being complex enough to keep your interest.

The title track starts off the album with a harpsichord solo which is suddenly interrupted by a quick drum riff and the music takes off. When vocals start, you get your first taste of the sound of Thomas Helm's voice which can be somewhat pompous and almost operatic at times, and at others, a low breathy tone, not really a growl, but close. The music itself is heavy progressive with a complex and changing time signature and plenty of guitars and keyboards to make any prog-head happy.

"T.B.'s Notion" starts off soft with a single guitar that quickly gets joined by vocals in a deep underdeveloped, yet rich voice with lyrics written by J.R.R. Tolkien adapted to an interesting melody. This one remains mostly slow and soft with a mellotron added in later. The melody is not a standard structure and seems to be somewhat improvised.

"Strange Mountain" starts with an electric piano, sounding somewhat like Led Zeppelin's "No Quarter". Subdued vocals start shortly after. At around 2 minutes there is a slight build, then it kicks into a mid tempo rhythm with a lot of mellotron and other keyboards with a flute effect, and the vocals become more dramatic. It continues to get better as it goes and the music becomes more complex. There is a sudden switch to a Deep Purple/Uriah Heep sound midway through when an organ comes in. The drums are also quite excellent adding to the complexity of the track. A theme keeps returning through the track.

Next is "How Fortunate the Man with None", a Dead Can Dance cover. It follows the original quite faithfully, except you get to hear it with Thomas' slightly operatic vocals. It is a decent cover that expands just a little on the original as far as the instruments and a little more vocal inflection, but stays pretty faithful with its great lyrics and repeating melody.

"Fiery Flower" starts with an early King Crimson vibe with mellotron and flute. After a minute, it changes to a more dramatic, neo-progressive sound when the full band and vocals start. There is a nice "Opeth" sounding instrumental interlude.

"Moonface is Dead" starts with a soft guitar and echoing effects with mellotron and vocals. This is a slow yet short track. I do have a hard time with the vocals on slower tracks like this one, when he really shines is on the more dramatic and complex passages in other tracks. Fortunately, it's only just over 4 minutes, but even then it meanders too much.

"Riddle Seeker" surpasses the 10 minute mark and ends the album on a high note. You get the full band from the start, playing a great progressive sound. Vocals come in early. Even after the first minute, you notice a complex and changing sound as a new theme is introduced by the bass and then repeated by guitars. This is quite a dynamic track, always changing and complex with tempo and meter changes and several thematic and improvised elements.

This is quite a great album overall, but some might be turned off initially by the dramatic vocals. This is not a huge drawback, because you do become accustomed to them after a while. There are places where things don't move smoothly, but again, the musicianship is excellent and indicative of greater things to come. However, with these minor issues, this is a very dynamic and progressive album, a little on the dark side, but I wouldn't consider it depressing at all. With a lot of complexities, yet staying mostly accessible in progressive terms, this album does have a lot to offer progressive lovers. Since it is quite dynamic, you can expect a lot of both quiet and heavy moments throughout. With only one really weak track, this reaches about 3.5 stars, but I can easily bump this up to 4 stars as it gets more appealing the more you listen to it.

 Sahara by ORPHANED LAND album cover Studio Album, 1994
3.41 | 60 ratings

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Sahara
Orphaned Land Experimental/Post Metal

Review by The Crow
Prog Reviewer

3 stars Debut full length album from Orphaned Land, one of the most original and disruptive death metal bands of the 90!

The production sounds old school and dusty these days, being the guitars the most damaged part of the album, among the noisy drums. But the extensive of oriental instruments like oud, darbuka and kanun, together with the powerful Kobi Fahri's vocals make this album more attractive than tons of other death metal records from the 90's.

Sadly, the songwriting is a bit irregular and sometimes even boring in the Sahara part of the record, being the compositions which come from The Beloved's Cry demo the best ones. However, the mystic and attractive mixture of their music among the prog approach to extreme metal will surely appeal both death metal hounds and prog archeologists.

Best Tracks: The Sahara's Storm, Season Unite, The Beloved's Cry.

Conclusion: dusty, poorly produced (despite the recent remaster) and too old school, Sahara is otherwise an enjoyable prog- metal album which still is one of the wildest death metal adventures of the 90's and a true example of how to mix very different musical (and not only musical) cultures.

To be tasted with the right perspective.

My rating: ***

 Black Light District by GATHERING, THE album cover Singles/EPs/Fan Club/Promo, 2002
3.48 | 27 ratings

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Black Light District
The Gathering Experimental/Post Metal

Review by TCat
Prog Reviewer

3 stars 'The Gathering' is a Dutch Post Metal band that started out as a Death Metal band and later turned to a more experimental sound. 'Black Light District' is an EP that was released in the interim between 2000 and 2003 before the release of their highly lauded album 'Souvenirs'. The EP features 3 tracks.

The first track is the title track 'Black Light District' which takes up most of the EP seeing as it is a 16+ minutes. It starts out slow and sparse featuring a solo piano. Percussion starts at the 2 minute mark along with some atmospheric guitar and bass. Guest Sarah Jezebel Deva, who was a soprano female vocalist for 'Cradle of Filth' for 14 years, starts with a slightly subdued spoken word passage with an echoing effect. After a few minutes, regular vocalist Anneke begins to sing while the spoken word continues. At six minutes, things are more intense when electric guitar takes over and the tempo quickens. Things get heavier after a short atmospheric break when the entire band explodes into a loud section. At around 8:30, we enter a heavy shoegaze style with a repeating guitar chord and heavy drumming. At around 10 minutes, things quiet down as the noise wall comes down, yet tension continues as things meander around and then a drone takes over. Soft guitar comes in keeping things minimal for this section. At 12:30, Anneke starts to finally sing a melody which percussion eventually picks up on and helps to carry forward. After she finishes, a nice piano interlude continues with the rest of the band supporting. Soon the band drops out leaving the piano and subdued vocals remaining. This track definitely continues through many sub- genres, yet remains quite concise and varied, so that the 16 minutes actually go by quite quickly.

Next is 'Debris'. This one starts out with a fast strumming guitar and Anneke singing almost right away. A heavy keyboard bass and Anneke trade off lead and then comes all together in a somewhat heavy track with some nice tricky rhythms. Things stay somewhat complex as the band doesn't settle with a typical song structure and melodies and riffs change. The vocal melody becomes somewhat typical, but the supporting instruments are somewhat atypical giving things a unique sound.

The last track is 'Broken Glass' which would also appear on the 'Souvenirs' album, however, this is a different version with only Anneke's vocals and a solo piano.

This EP is a decent recording, but holds nothing groundbreaking, only offering some good tracks that feature some complexity. It is a good EP to track down since there are 2 original tracks not available on the album and one that is in a different version. New fans might be interested in this one as would others. Time tends to be the only major problem here as the 27 minutes goes by really fast. Overall, it is deserving of 3 strong stars.

 Phanerozoic I - Palaeozoic by OCEAN, THE album cover Studio Album, 2018
4.80 | 6 ratings

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Phanerozoic I - Palaeozoic
The Ocean Experimental/Post Metal

Review by Antonis Kalamoutsos

5 stars The 8th album of German act The Ocean Collective entitled Phanerozoic I: Palaeozoic (part II will be released in 2020), doesn't add any new elements to their previous discography and carries no innovation with it. It is not the first album that tries to achieve a perfect, natural balance between an enormous mid-tempo post/sludge style and the most progressive aspects of metal sound. Clearly, we have listened to myriads of albums that include huge riffs, extended atmospheric ambiences and great production. Of course, it's not the first metal album that combines its high dynamics with piano, cello and electronic sounds and, no discussion about it, we have listened to countless albums sang by phenomenal singers ? though I believe it is time to acknowledge Loic Rossetti as one of the best singers of our time. And despite the fact that Katatonia' s Jonas Renske can make even stones weep when he sings, we have listened to many collaborations in the past, as important as this one in ''Devonian: Nascent''.

Phanerozoic I: Palaeozoic is not the first album that narrates stories regarding the powers of the earth, surrendering itself to nature-centric visions. It is not the first scientific or instructive album, neither the first one that makes us suspect that its lyrics hide essentially a great allegory ? the disasters, reconstructions and rebirths of the Phanerozoic era as geological symbols of human insignificance and of the little deaths and rebirths we experience in our everyday lives. The Ocean is not the first band to evoke feelings of ultimate decay or ultimate uplifting and this is not the first album to include dramatic or epic elements of this intensity. Many times in the past we have listened to music that created powerful imaginary images of seas that rise as mountains and of earthquakes that tear the land in pieces.

Analysing its characteristics, Phanerozoic I: Palaeozoic should be just another good album, so how is it possible to feel so much more than that?

There is no reasonable explanation. It seems that the only one responsible for the creation of an album of this calibre is that vagabond, untamed lady that never marries or belongs to anyone, that never gets abused by anyone. That lady that ignores the begging of the great and answers to no prayers and, if she feels like it, she sits next to the ''small'' and ''humble'' of her choosing, uninvited and then departs again like a shadow, without any warning. The ancients called her Muse, we call her inspiration today but no matter how you call her, it seems that this wild entity fell in love with Robin Staps and his Berlin-based collective and obviously she didn't leave him alone not even for a moment while this album was being created. It's the only way to explain the fact that every note of this album seems to fulfill its causality and completely serve the purpose it was born for. And as the Milky Way's spiral can be compared with the spiral of a snail's shell, so the less than 50 minutes of this record compete with the 500 million years and the 5 mass extinctions of the Phanerozoic era, claiming the same root causes.

The Ocean Collective is not the first band that metal music ? with its modern, post-2000 aesthetic context ? should owe gratitude for the kiss of life it offers. Yet, until an album of that quality appears again, there is the possibility to be the last.

 Opportunistic Thieves Of Spring by FOREST OF STARS, A album cover Studio Album, 2010
4.30 | 35 ratings

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Opportunistic Thieves Of Spring
A Forest Of Stars Experimental/Post Metal

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

5 stars A FOREST OF STARS experienced absolutely zero slump on their sophomore album OPPORTUNISTIC THIEVES OF SPRING. Already on their debut 'The Corpse Of Rebirth,' this Leeds, England based post-black metal band that loves to dress up all Victorian displayed a stunning maturity as they seamlessly melded a 70s progressive folk style with all the modern day atmospheric black metal touches which included extensive use of sophisticated dark ambient passages and wove it all into dreamy celestial realms. While the fearless fusion was the result of their bold experimental approach, the effect was one of the most well laid out examples of how to adapt a marriage of psychedelic folk and caustic black metal within the greater context of an extended post-rock paradigm.

OPPORTUNISTIC THIEVES OF SPRING takes the band even further into the deepest recesses of their fertile imaginations and creates another staggering journey into the slow burn world of monumental epic tracks that extend to infinity and beyond. Well, to be honest on this one, two of the six tracks actually do NOT hit the ten minute mark but the epic sprawl of the opener 'Sorrow's Impetus' dips past the 13 minute mark and the grand finale in the form of 'Delay's Progression' extends all the way past 16. While it sounds like the ultimate test of patience and the perfect recipe for an overweening post-whatever album to wear out its welcome by the second track, somehow A FOREST OF STARS breathe vitality into every cadence and every rhythmic drive that emulates from their magic grab bag of ideas.

As with the debut, this second offering relies on a post-rock driven atmospheric flow that delivers the expected gentle slow burning approach that ratchets up the intensity to bombastic blackened crescendoes. Also all along the way, the musical march is haunted by the mournful melancholy of Katheryne, Queen Of Ghosts' foik-laden violin performances with the occasional flute accouterments to add that extra folky flavor. Also back for a reprise are the Ralph Vaughan Williams inspired classical touches that find their way to the surface during the brevity of the piano tinkling but comprise a structural underpinning that offers a complexity not apparent to the casual listener. Add the black metal bombast which tackles the usual suspects of tremolo picking, bombastic riffs and distortion like there's no tomorrow and the band ratchets up their successful formula a few notches by adding touches of accordion and sitar just to name a few.

What probably propels OPPORTUNISTIC THIEVES OF SPRING a few notches above and beyond 'The Corpse Of Rebirth' is the prowess of the six compositions that finds the band delivering a much more interesting flow of musical ideas as they hit their stride. The black metal, folk, classical and post-rock elements have mastered cosmic bliss as they perfect the marriage of elements that unleash pure magic. What? This album is really 72 minutes long and i didn't get bored? How often does that happen? Interestingly enough, the music never once misses a beat. It flows impeccably as one sonically stretched epic track cedes into the next. This is music to get lost in and despite the metal elements, has more in common with chamber orchestra works from previous centuries than anything from the second wave of black metal.

Despite a classical / psychedelic chamber folk band in metal clothing setting, A FOREST OF STARS sets itself apart from its contemporaries and the band doesn't shy away from unleashing the full effects of black metal bombast. Mister Curse delivers his insane asylum theatrical vocal style unapologetically with glee while blastbeats and distorted tremolo guitar picking aggressive dominate the subdued violin and piano sounds that only emerge when the metal takes a breather. Whereas the debut had more of a predictable flow as the atmospheric and folk touches tended to initiate the process and allow the metal to build up its intensity, on OPPORTUNISTIC THIEVES OF SPRING, the band throws in more curve balls and carves their compositions into suite-like creations of epic proportion. It's almost like a black metal opera version of Sigur Ros as the hypnotic repetition mixes and melds with the extreme metal decibalage.

Also for good measure, A FOREST OF STARS still sounds a lot like the (more progressive) atmospheric black metal counterpart to My Dying Bride as both bands rely heavily on a dirge-like violin line to create the proper elegiac elements which in this care are amplified by the spooky cosmic dark ambience and post-black metal heft. Notably as the standout of the crowd, 'Starfire's Memory' offers a diverse mix of clean male and female vocals in addition to Mr. Curse's unhinged shrieks of insanity. On their sophomore album OPPORTUNISTIC THIEVES OF SPRING, i have to say that A FOREST OF STARS hits musical perfection as every STAR within this FOREST aligned in astrological perfection. Every single aspect about this one exudes a grace and elegance unlike most albums that would fall into the greater black metal universe. This is clearly designed for connoisseurs of musical diversity because if the listener isn't fully onboard long interludes of formless dark ambience, post-rock repetition or black metal bombast, one's attention span could easily be derailed however for my money, this one is a bloody masterpiece!

 The Corpse Of Rebirth by FOREST OF STARS, A album cover Studio Album, 2008
3.98 | 26 ratings

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The Corpse Of Rebirth
A Forest Of Stars Experimental/Post Metal

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

4 stars The great shapeshifting metal subgenre that we call black metal never ceases to amaze me as it seems utterly adaptable to just about every other stylistic development conceivable. A few short years beyond the second wave's domination of the early 90s, bands were branching off like a canopy off the trunk of a tree and becoming less and less like what anyone would've conceived as for metal music several years prior. A FOREST OF STARS is yet another band that continued the fertile grounds of cross-pollinating musical genres into a completely different beast altogether. Founded in 2007 in Leeds, England and named after a British Gentlemen's Club, this band has concocted an interesting blend of post-black metal infused with classical, folk and psychedelia.

The band contrasts two seemingly opposing themes as it tackles a rather primeval Pagan ritualistic effect on its Gaian themed debut THE CORPSE OF REBIRTH and much like its paradoxically titled debut, the band members take on Victorian personas with names such as The Gentleman (keyboards, pianoforte, percussion, drums), Mister Curse (vocals), Katie Stone (vocals, violin, flute) and Mr. T.S. Kettleburner (vocals, guitar, bass). The contrast between the old world sensibilities brought forth by classical fortified constructs inspired by Ralph Vaughan Williams with 21st century black metal reminiscent of Dornenreich and Ulver brings out a downright lugubrious and mysterious run of five sprawling tracks that extend to the cosmos and back.

Of the five tracks only one falls below the ten minute mark at a "shortened" time run of nine and a half minutes. The opening track "God" takes its sweet time to warm up before it closes at the sixteen and a half minute mark. The track characterizes the band's overall atmospheric post-black style that exhibits a melancholic violin presence throughout the album immediately bringing the somewhat similar sound that My Dying Bride accomplishes in a doom metal context. Indeed A FOREST OF STARS does implement doom metal aspects at times to their music but for the most part the post-metal aspects deliver a steady flow of repetitive tremolo picked riffs and thunderously distorted chords that ratchet up the tension and climax as the distorted black metal guitar riffs aggressively bob up and down behind the rather sedated violin, flute and percussive beat.

Perhaps the greatest make or break of the deal comes in the eccentric vocal form of Mister Curse's idiosyncratic delivery of pure lunacy as he sounds as if he's on the verge of a mental breakdown. In this regard the closest analogy is that of the early Summoning albums. It's a strange avant-garde mix of ingredients with lunatic vocals narrating a Pagan concept under the guise of Victorian post- black metal. The underpinning of the music seems to be based in the Vaughan Williams classical inspiration most easily pegged when the piano pieces dominate and the violin wails like a sad cat howling in an alley somewhere in a cold unforgiving city setting. The music does come off a bit like the psychedelic rock of Pink Floyd as well especially when it throws in some drum rolls reminiscent of "The Dark Side Of The Moon," such as on the transition from non-metal to black tremolo picking on "Female."

For a debut album, this one has been released with multiple album covers. There's the initial CD-R red photo album cover with the logo, the white counterpart, a black and white swirl effect version and another limited edition with a white background and floral geometric configuration. This music is surprisingly hypnotic even when it's at its full black metal aggressive glory. The violin never gets buried beneath the din which brings up the amazingly well mixed production job that allows all of the sounds to sound balanced in glorious perfection. Despite the tracks extending to lengthy time runs, the music takes the listener on a journey and doesn't get repetitively dull. It plays itself out and creates psychedelic interludes that naturally fit into the overall theme. This debut from A FOREST OF STARS exemplifies the band's unique approach from the very beginning which has gained it high regards in the experimental atmospheric side of the black metal world.

 The Serpent & The Sphere by AGALLOCH album cover Studio Album, 2014
3.68 | 85 ratings

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The Serpent & The Sphere
Agalloch Experimental/Post Metal

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

3 stars AGALLOCH pretty much dominated the American metal scene for the first decade of the 2000's as they cranked out not only one or two but four outstanding classics that showcased their idiosyncratic visionary fusion of black and doom metal with dark neofolk, post rock and ritual ambient music. Add to that, several EPs distinct from their full-length canon and numerous tours that took them around the world. And not only did they deliver the goods on each of their albums, but they steadily ratcheted up new aspects of their sound which made them quite popular by the time their fourth album 'Marrow Of The Spirit' hit the world in 2010. It seemed the band would continue the trend forever. Not so fast.

Following the single tracked EP 'Faustian Echoes' which not only displayed AGALLOCH's longest track of their career but also their heaviest that utilized the fullest effects of black metal riffing only intermittently punctuated by dark folk interludes to provide a soft canvass for the poetic prose to be recited. Two years later the band would release their fifth and final album as fate would have it. THE SERPENT & THE SPHERE offered another slice of the dramatic melding of the folk and metal that fans had come to expect so well. The band continues the same lineup as 'Marrow' with Aesop Dekkecontinuing his drumming duties but this one contains a guest appearance of Nathana'l Larochetter who plays acoustic guitar.

THE SERPENT & THE SPHERE pretty much continues the AGALLOCH signature sound however for once in their career, this one seems to have lost all inspiration and as a result sound like an AGALLOCH by-the-numbers type of album. It contains nine tracks with two extending past the ten minute mark however where previously albums soared and took you on left turns after building up crescendoes of folk and metal glory, SERPENT seems to slither down a one way path. Once again the band builds long repetitive riffs that continue to grow in speed and volume utilizing the raspy shrieked vocal effect and distorted guitar atmospheric layering that offers the desired doom and gloom and all that. But something is seriously missing here.

Firstly, the riffs and melodies are rather flat. There is not one track on here that keeps my attention and not one that demands my returned listening. This happened upon first listen but in order to review this i've spun it numerous times and unlike the other four albums that made me want to listen to them over and over, this one makes wanna take it out and put in, you got it, one of the other four albums! This one seems to completely lack that magical mojo and spirit that made AGALLOCH albums so great. It seems the magic wasn't isn't the riffing, the post-rock build-ups, the black metal outbursts or any of the describable ingredients. It was in the epic compositional constructs that cleverly tied it all together.

It really seems AGALLOCH lost the passion and burned out and apparently that's exactly what happened since the band broke up two years later. There is nothing bad about this one per se but in all honesty, there is nothing great either and since it's AGALLOCH, well, ok doesn't cut the mustard. This is by far their worst album in my world. I'm glad they called it quits having realized the game is over and pumping out mediocrity for time immemorial would only tarnish their past glories. After the breakup, John Haughm would form a new band called Pillorian, Don Anderson, Jason William Walton and Aesop Dekker would begin Kh'rada. While it's never a glad day when a legendary band calls it quits, personally i'd much rather see a band do so than litter the market with bland lifeless locust shells of their past.

 Devin Townsend Project: Epicloud by TOWNSEND, DEVIN album cover Studio Album, 2012
3.95 | 321 ratings

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Devin Townsend Project: Epicloud
Devin Townsend Experimental/Post Metal

Review by sgtpepper

4 stars After 3 years, DT returns to his more classic sound with wall of sound behind the heavier tracks and flowing acoustic songs. Thankfully, he kept collaboration with Anneke Van Giersbergen whose vocal lights up every song. The first a-capella short ouverture informs the listener that he won't come short of harmonies. "True North" continues in the melodic vocal driven song flow. Gone are the overblown massive epic tracks from the last albums, most music here is more stripped down but don't expect just a guitar, bass, drums and vocals, that would be too plain from DT. "Kingdom" is the best prototype of the typical DT's style with a strong melody. ALso, note the opera vocal by DT himself. A few sublime tracks such as "Divine" keep the sunny spirit high. Angel has an almost Christmas-like ending with vocal chorus. This is the album that will be praised equally by many DT's fans and beyond.
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Experimental/Post Metal bands/artists list

Bands/Artists Country
*SHELS United States
11 AS IN ADVERSARIES France
19 A.D.D. United States
21 EYES OF RUBY Netherlands
THE 3RD AND THE MORTAL Norway
413 United States
5IVE United States
6:33 France
A((WAKE)) United States
AABSINTHE France
ABANDON Sweden
ABYSSE France
ACROSS TUNDRAS United States
ACYL France
ADMIRAL BROWNING United States
ADRIFT Spain
AFTER MY OWN United States
AGALLOCH United States
AGES GONE Germany
AKPHAEZYA France
AKROMA France
ALASKAN Canada
ALCEST France
ALTAR OF PLAGUES Ireland
AMARA United States
AMATERAZU Portugal
AMBEON Netherlands
AMENRA Belgium
AMESOEURS France
AMIA VENERA LANDSCAPE Italy
ANATHEMA United Kingdom
ANCESTORS United States
AND HARMONY DIES Italy
ANGEL EYES United States
ANTIGUA Y BARBUDA Spain
ANTIMATTER Multi-National
ANUBI Lithuania
AORIA Sweden
APOCALIPSIS Mexico
APOCRYPHAL VOICE Finland
APOKATASTASIA Switzerland
APSE United States
ARCADE MESSIAH United Kingdom
THE ARKITECHT Mexico
ARKTIKA Germany
AS LIGHT DIES Spain
ASIDEFROMADAY France
ASPIRATION Norway
ASTROHENGE United Kingdom
ASTRONAUT DOWN United States
AT THE SOUNDAWN Italy
THE ATLAS MOTH United States
ATMOSPHERES Belgium
THE ATOMIC BOMB AUDITION United States
ATROX Norway
AUSSIT‘T MORT France
AUSTARAS United States
THE AXIS OF PERDITION United Kingdom
AZIOLA CRY United States
BACK WHEN United States
BAK Australia
BARONESS United States
BAT CASTLE United States
BATTLE OF MICE United States
BATTLEFIELDS United States
BAUDA Chile
BEAK United States
BEECHER United Kingdom
BEFORE THE EYEWALL United States
BEHIND THE SUN Israel
BEING United States
ADRIAN BENAVIDES United States
BIRUSHANAH Japan
BISON B.C. Canada
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
BRAIN TENTACLES United States
BRIDGES TO DREAMS Canada
BUNKUR Netherlands
BURIED INSIDE Canada
BURN DOWN ROME United Kingdom
BURWEED Finland
BUTTERFLY TRAJECTORY Poland
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
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
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
DōDSVERK 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
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
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
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
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
HVOSCH 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
IVAR BJōRNSON & EINAR SELVIK Norway
IZAH Netherlands
JAKEL Canada
JANVS Italy
JESU United Kingdom
JEWY SABATAY Serbia
OLIVER KAAH Finland
KAILASH Italy
KALKI AVATARA Italy
KARABOUDJAN Sweden
KEELHAUL United States
KEKAL Indonesia
KHANATE United States
KHEMEŌA France
KHOMA Sweden
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
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L÷BO Portugal
LOOK TO WINDWARD New Zealand
LORUS United States
A LOST STATE OF MIND United States
LOTUS THIEF United States
LUDICRA United States
LYE BY MISTAKE United States
MADŃRFOGŃS Hungary
MADE OUT OF BABIES United States
MAHESH Chile
MAMMOTH New Zealand
MANATEES United Kingdom
MANDIBULBE France
MANES Norway
MANUSCRIPTS DON'T BURN Italy
MAR DE GRISES Chile
MARE United States
THE MASS United States
THE MATTERHORN PROJECT United States
MAUDLIN Belgium
MAUDLIN OF THE WELL United States
MEANDERING MINE Germany
MEMORIES OF A DEAD MAN France
MENISCUS Australia
MINDFOLD EXPRESS Bulgaria
MINSK United States
MIOSIS Sweden
THE MIRE United Kingdom
MIRRORTHRONE Switzerland
MISANTHROFEEL Russia
MOANAA Poland
MOD FLANDERS CONSPIRACY United States
MOLOKEN Sweden
MOMENTUM Iceland
MONDRIAN OAK Italy
MONUMENTUM Italy
MORAINES Croatia
MORNE United States
THE MORNINGSIDE Russia
MORTIFERIA Norway
MOSE GIGANTICUS United States
MOSKAU Germany
MOUNTAINS BECAME MACHINES United Kingdom
MOUTH OF THE ARCHITECT United States
MUTYUMU Japan
MY SILENT WAKE United Kingdom
MYSTER M÷BIUS Multi-National
MYSTIC Netherlands
NAHEMAH Spain
NAHRAYAN Spain
NANDA DEVI United States
NATIONAL SUNDAY LAW United States
NAUTICUS Finland
NAUTILUS Norway
NEBRA Switzerland
NERO DI MARTE Italy
NEUMA Poland
NEUROSIS United States
NEVBORN Switzerland
NIGHT VERSES United States
NIHIL Serbia
NINTH MOON BLACK United States
NO HOME FOR HEROES Australia
NO MADE SENSE United Kingdom
NOCTIS Australia
NOEKK Germany
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
÷OOOOOOOOOO France
ORANSSI PAZUZU Finland
ORDO DRACONIS Netherlands
ōRKENKJōTT Norway
ORPHANED LAND Israel
ORTHODOX Spain
OSI United States
OSTROVA Spain
THE OTHER SIDE OF THE SKY United States
OUTOPSYA Italy
OUTRUN THE SUNLIGHT United States
OVERMARS France
÷XX÷ X÷÷X France
PAN.THY.MONIUM Sweden
PANOPTICON United States
THE PAX CECILIA United States
PECCATUM Norway
PELICAN United States
PET SLIMMERS OF THE YEAR United Kingdom
PIKE Sweden
PINKLY SMOOTH United States
THE POSTMAN SYNDROME United States
PRISMA Switzerland
PROGHMA-C Poland
THE PROPHECY United Kingdom
PRYAPISME France
PSYCHOFAGIST Italy
PSYKUP France
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
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
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
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
THENCE Finland
FREDRIK THORDENDAL'S SPECIAL DEFECTS Sweden
THY CATAFALQUE Hungary
TIDES United States
TIDES FROM NEBULA Poland
TIME ZERO United States
TITAN Canada
TODTGELICHTER Germany
TOMYDEEPESTEGO Italy
TOOL United States
TOUNDRA Spain
TOWN PORTAL Denmark
DEVIN TOWNSEND Canada
TRANSMISSION0 Netherlands
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
UPRISING FORMALHAUT Ukraine
URNA Italy
USER NE Spain
VAKA Sweden
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
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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