Progarchives, the progressive rock ultimate discography

EXPERIMENTAL/POST METAL

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

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 | 1384 ratings
LATERALUS
Tool
4.22 | 662 ratings
PART THE SECOND
Maudlin Of The Well
4.33 | 122 ratings
IMAGINARY SONICSCAPE
Sigh
4.26 | 173 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.19 | 607 ratings
TERRIA
Townsend, Devin
4.19 | 307 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.15 | 652 ratings
JUDGEMENT
Anathema
4.16 | 543 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.18 | 283 ratings
BATH
Maudlin Of The Well
4.16 | 258 ratings
IN A FLESH AQUARIUM
Unexpect
4.14 | 310 ratings
FABLES OF THE SLEEPLESS EMPIRE
Unexpect
4.13 | 351 ratings
THE MANTLE
Agalloch
4.13 | 315 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.19 | 139 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult of Luna
4.46 | 39 ratings
FEA JUR
Lye By Mistake
4.08 | 826 ratings
∆NIMA
Tool
4.40 | 44 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.12 | 243 ratings
PANOPTICON
Isis
4.08 | 313 ratings
MABOOL - THE STORY OF THE THREE SONS OF SEVEN
Orphaned Land
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

REQUIEM - MEZZO FORTE
Virgin Black
MONOLITH
Twin Zero
OMEGA
Cancer Conspiracy, The
IN A FLESH AQUARIUM
Unexpect

Latest Experimental/Post Metal Music Reviews


 Yellow & Green by BARONESS album cover Studio Album, 2012
3.46 | 104 ratings

BUY
Yellow & Green
Baroness Experimental/Post Metal

Review by TCat
Prog Reviewer

3 stars All of Baroness' albums from "The Blue Album" back to the beginning (including the EPs) were top notch, inventive and amazing Prog Metal albums with a lot of emotion, and with as much instrumental music as vocal music. Yes it is very heavy music, but with a lot of progressive elements and very imaginative. The vocals were close to growling, but they still had a very melodic quality to them that made them all the more emotional in the same way that Devin Townsend's growling vocals are. I highly recommend any of those albums.

This album, called "Yellow & Green" is actually a double album, hence the title with two colors. Just one month after the release of this album, the members in the band were all injured in a bus accident, and it looked like this would be the demise of the band, but they all recovered from very serious injuries and started touring again. Not long after this however, two of the members left the band, but two other musicians soon joined the band and touring continued.

So, with this album, Baroness takes a turn towards a more accessible sound. You can't really say this is a progressive record, but it is a great heavy metal album nevertheless. I still enjoy the music on this album, there are still plenty of high points on the album, they just aren't progressive aspects anymore. The vocals are now cleaner, but unfortunately, they tend to lose the emotion they used to possess. The vocalist is still the same as on the past albums, he is just singing cleaner. The guitar work is absolutely awesome. You could pretty much say that the "Yellow" disc is more on the heavier side with a few mellower sections added in, and the "Green" disc has more softer and mellower tracks with a few heavy sections, especially towards the middle part. But, overall it has lost it's progressive heart, and that is a shame because this is an excellent band. In fact, I actually increased "The Red Album" to a 5 star album now after listening to it several times and gaining a better respect for it. Unfortunately, I can't be so generous to the "Yellow & Green" album simply because it is not progressive enough. Amazing harmonies, excellent guitar work, great instrumentation, but I miss the progressiveness of the older albums, the power and emotion. It is an excellent heavy metal album, but only a good but non-essential album in progressive terms.

 Carheart by VIRUS album cover Studio Album, 2003
4.14 | 28 ratings

BUY
Carheart
Virus Experimental/Post Metal

Review by Luqueasaur

4 stars It's all gone weird: 8/10

Looking broadly, VIRUS proves to be of a wholly different species from their ancestors, VED BUENS ENDE but, just like in every good evolutionary process, they still share a few similarities, especially regarding their intrinsic characteristics.

In fact, if I were to point said similitudes - of which only one is worth noticing -, I'd go around saying both fellas are able to paint a bleak and mesmerizingly surreal atmosphere to their songs through absurdist and seemingly nonsensical lyrics, dissonant tunes that cause unsettlingness similar to ants crawling your skin, and being overall unmatched in terms of melody. Easy now though. Remember? Wholly different species. Don't get your avant-blackjazz all too aroused, "oh yes, finally, a continuation for WRITTEN IN WATERS". Nope. After all, they're unmatched in terms of melody, including among themselves.

You see, VED BUENS ENDE did all of this within a black metal atmosphere, with all its gloomy, tenebrous, cold glory. And Virus don't. Fuck being copycats of themselves, they play their own style, their own, eerie style of heavier-than- heavy-but-not-heavier-than-death dissonant metal; the drumming isn't nearly as bold and inventive as VBE's (in fact, rhythmically speaking CARHEART is a banger but also formulaic). That's the difference. But then you ask me, how does CARHEART sound? To which I'd answer, as I hardly do answer, you really gotta listen to it if you know how it's like. Well, it's not spectacularly innovative or off-this-world material, brought to us by genius minds to revolutionize music, it's just different, peculiar, unlike anything else. But hey, isn't that how evolution works, it just creates new things? When starfishes were invented, no one in the sea had seen anything alike. Doesn't make them amazingly important though, does it? Just... interesting. An interesting addition to the sea, the already freakish, filled with interesting things, sea.

To wrap it up: it's good. It's fun. It's CREEPY. A concept album about cars. That alone should warn you, this is creepy. And the vocals at Gum, Meet, Mother. Oh, my. You know, VIRUS shows potential. Just like starfishes eventually became humans (well, not really), maybe VIRUS is prone to, eventually, release something truly revolutionary. 'cause, just like DNA mutations, these guys clearly show a burning passion for creating new, weird things no one expected to exist.

Checka-checka-check it out! Worth your time, metal fans.

 Dystonia by CEREUS album cover Studio Album, 2018
3.00 | 2 ratings

BUY
Dystonia
Cereus Experimental/Post Metal

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

3 stars CEREUS is another promising heavy prog and metal bordering outfit hailing from Poland. The quintet delivers very melodic rock songs in the vein of fellow countrymen Riverside, Abstrakt, Art Of Illusion, Hellhaven. The concept behind - highly philosophical - outlines a tale which deals with the search for a place in space and time as well as the reason to exist. Well, attention, the album title stands for a movement disorder syndrome, but luckily this does not affect the execution music-wise. First of all they have singer Michal Dabrowski aboard, equipped with a good voice.

Furthermore Pawel Sikora's riffing and soaring guitars are all around, this featuring a significant post touch. Punchy bass and drums are generating a proper drive in the end. Plus the marked preference for spoken words in French language this all fits quite well. Above all though the compositions are definitely catchy. In any case they are offering a cultivated chain of song pearls, missing any filler over the course of more than 60 minutes. Hence they are on a relatively safe ground with the sound overall. Good album. Anyhow, here and there I wished to experience some edges and surprises.

 Alternative 4 by ANATHEMA album cover Studio Album, 1998
4.05 | 570 ratings

BUY
Alternative 4
Anathema Experimental/Post Metal

Review by TCat
Prog Reviewer

3 stars After starting out as a doom metal band, by their fourth album released in 1998, Anathema has taken steps in the right direction. "Alternative 4" still retains two of the original members, Vincent and Daniel Cavanaugh. Duncan Patterson is on bass and has been since just before 1991, so he's almost an original having replaced Jaimie Cavanaugh. However, the drummer is newcomer, Shaun Steels, and thus this is the only album that does not have John Douglas on it. Steels would only be in the band for this album and John would rejoin to remain with the band until present day. Steels does an adequate job however, it is hard to tell much difference in the sound of the percussion on this album.

So, by this point, the growling vocals have been replaced by clean vocals by Vincent, who sometimes almost sounds like Roger Waters from Pink Floyd. The vocals are definitely emotional and dymanic. Everything else is also in top form, except for one thing, they haven't quite found their sound yet. There are times on this album that are definitely top notch, but for the most part, there really isn't anything much that is progressive here. The band is no longer just doom metal, but more like a dark, hard rock with a lot of slow beautiful melodies mixed in. It's a good mix and a good sound, but it's still not as great as it will become.

Overall, this album is enjoyable, yet very dark and depressing. There is a lot of great heavy guitar here, enough keyboards to keep a certain degree of variety in the sound. Most of the sound that stands out here is in the guitar work, and that is the best part of this album. The band approaches a progressive sound, as in the title track, with some tricky percussion and rhythm, but the meter is still a basic 4/4. Not that this necessarily determines if it is progressive, because there is plenty of great progressive music that is in a basic meter. The songs and lyrics are not formulaic, but they do sound very much like a heavy metal attitude, just toned down to give a feeling of more variables in the music. This leaves the band open to explore some more mellow passages, which they do also.

So with there being a lot of variety in the sound, the songs don't seem to vary much in having their own personalities, they all seem to follow a similar sound. Aside from this, the album is good enough to listen to from time to time. The best parts of the album are in the title track and in "Regret" which coincidentally are the longest tracks on the album. It seems like there is more freedom to explore the music and things aren't quite so rushed. There is another degree added to the album in the bonus tracks that are available on the 2003 remaster. All four of the bonus tracks are covers, and three of those covers are Pink Floyd songs, so there is definitely a degree of their influence in the music the band was exploring at the time. The other cover is a Bad Religion cover "Better Off Dead", so there is part of the Alternative influence. This cover is absolutely amazing and emotional and I just love it. This is a good, heart-felt album, and the movement of the band is in the right direction here, but because of the degree of same-ness on this album, it's a strong 3 star album.

 All Faith is Lost  by ANATHEMA album cover Singles/EPs/Fan Club/Promo, 1991
1.59 | 14 ratings

BUY
All Faith is Lost
Anathema Experimental/Post Metal

Review by TCat
Prog Reviewer

1 stars This demo tape, released by the band, is quite a far cry from what they become. Of course, it is close to their original sound, that of doom/death metal with growling and unclear vocals. Their albums would show marked improvement, which is what you would expect, but even the demo songs here demonstrate the bands talent in the instrumentation department, but not so much in the lyrical and vocal aspects.

As a rule, I don't care for these growling or screaming vocals unless some emotion or some degree of musicality is present, as with Devin Townsend, Opeth or Orphaned Land. But this is not the case in the early Anathema demos and unfortunately in their first EPs and albums. The guitars and the drums here are decent enough, but the vocals and lack of emotion just don't appeal to me. It makes the music sound too much alike and it also takes away from the talent apparent in the rest of the band. These songs are all about darkness and depression, and become increasingly darker as they go on.

"Crestfallen" is the best song on here, it shows off the real talent of the band in instrumentation and emotion, but is still not the easiest thing to listen to, and the EP version would end up being better than this version. "At One with the Earth" and "All Faith is Lost" have awful vocals and cancel out any other sounds that may come from the band. "They Die" is a little bit better, but this one is also on "The Crestfallen" EP in a much better version. It still has the growly vocals I don't like, but again, the best part of the music is the instrumentation here also.

I would suggest not searching for the demo tapes, even if you are into death and doom metal, unless you are a completionist. If you like this kind of music, then look into getting "Serenades" or "The Silent Enigma" or the EP "The Crestfallen". If you like more experiemental or emotional music, then you definitely need to check out anything else by the band, because they are amazingly talented. Their clean vocals in everything released after "The Silent Enigma" don't take away from the music and their ingenuity is much more apparent.

 Continuum by SONS OF ALPHA CENTAURI album cover Studio Album, 2018
3.91 | 3 ratings

BUY
Continuum
Sons Of Alpha Centauri Experimental/Post Metal

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars UK band SONS OF ALPHA CENTAURI was formed back in 2001, at the onset a duo consisting of Nick Hannon and Marlon King. They appeared as recording artists in 2007, and while active as recording artists after this as well, this has mainly been in various forms of collaborations and side projects. "Continuum" is the band's second full length studio production, and was released through Herman label H42 Records in the spring of 2018.

I see the self-description of this band citing them as something of an avantgarde and post-metal oriented band. Those with a taste for artists of that particular nature may well find that Sons of Alpha Centuari, at least as they appear in 2018, are a few tracks away from such territories, and then the avantgarde aspect of it in particular. There's not much I'd describe as being post metal here either when it comes to that. Instrumental progressive rock is probably where I'd categorize this band and this specific album myself.

In the main compositions here the band tends to alternate between two distinct modes of delivery. One features relatively gently wandering and often plucked guitar details as the key element, and the other is dominated by darker toned riffs, at times with a gnarly, almost primitive sound at that. In both cases relatively delicate, floating keyboards will be used as overlays, and then more often than not with a cold, subtly cosmic tinge to it.

In between those contrasts we do get quite a few variations and deviations of course, with tasteful guitar solo runs as well as more effects laden guitar details as well as a bass guitar that gets some booming, beefy limelight here and there as well. The songs tend to ebb and flow nicely in intensity, either building up to a more intense finale or going full circle and concluding on a similar note as the opening part of the track. By plan or accident there's a case to be made here on the hypnotic effects of repetition too, and one might also argue that a couple of the cuts here have a stoner rock and a post-punk vibe to them respectively.

There's also a few atmospheric laden cuts to be enjoyed here, although for my sake they are by and large not as interesting as individual creations, functioning primarily as parts of an album experience as far as I'm concerned. The one exception is the opening cut 'Into the Abyss', but that may well be due to this one reminding me ever so slightly of late 70's Eloy, which for me is a good thing.

While I do find this album to be a well made production throughout, my main impression is that this will also be an album with something of a niche appeal. A tad too primitive sounding at times to make a broad headway into the progressive rock oriented crowd, and arguably a tad too sophisticated to gather a strong appeal among those with a primary taste for instrumental hard rock that is borderline metal at times. Still, those with a taste for instrumental progressive rock that exist within those parameters should find this album to be a compelling experience. A good album, but with something of a limited reach in my opinion at least.

 Z≤ by TOWNSEND, DEVIN album cover Studio Album, 2014
3.81 | 133 ratings

BUY
Z≤
Devin Townsend Experimental/Post Metal

Review by TCat
Prog Reviewer

4 stars What we have here is not necessarily a double album as much as it is two albums together in one package. The first album is titled "Sky Blue" and it is the 6th in a series of albums under the moniker of The Devin Townsend Project. This is a series of releases where each album was supposed to have a distinct feel and style. So this one does have another style, but it harkens back somewhat to earlier albums in the series. Many have compared it to "Addicted" which was the usual Devin sound but in a more pop sounding vein than usual. So, you got some driving, danceable beats behind the usual multi-layered guitars, keyboards and vocals that create the distinct wall of sound Devin is famous for. "Sky Blue" however, while it seems to lean towards this direction, is not as poppy. It may seem like it is going that way at first, with the very upbeat yet heavy "Rejoice", the perfect way to open the album. But, as the album progresses, it becomes more progressive. By the time you get to track 4, "A New Reign", you notice that there is nothing very poppy about it anymore. But, the real beauty of a song actually comes right before this one, "Midnight Sun". This song is simply beautiful, strong, atmospheric and spacey. Because it is more of a ballad than a rock song, it makes the real differences in this album sneak up on you. You will start to notice that this album is more ambient sounding than what "Addicted" was, but the real terms to describe this is atmospheric, spacious and lush. Unfortunately, the shortcoming for the album is that Devin's vocals are not as emotional as "Addicted" or other albums. Anneke also sings on this album on most tracks, but not as much as a soloist as someone singing in tandem with Devin. So this does bring some texture to Devin's lower register, which he tends to stay in more often. As you move closer to the middle of the album, this tends to get a little monotonous, and you start to actually lose interest. The one highlight in this part of the album is "Silent Militia", which is a welcome hard rock relief to what was becoming mundane. This is one where Devin starts to show his emotion, and you get a little more screaming here, which actually is the dynamic I was craving for at this point. Once you get to "Forever", things get better, because this is actually part of a suite that comprises the last three songs. The beauty returns, even if this is a quieter track, you start to hear some interesting harmonies, and you feel things building to what will be an amazing climax in the middle of "Before We Die". By now, you have an excellent use of the multi layered vocals on the part of both Devin and Anneke, so you have what actually sounds like full choir, and also by now, you feel that amazing uplifting feeling that you get with many DT songs. The first and the last part of this album saves the entire collection. Only the middle part of the album tends to lag, but the rest is definitely worth it.

The second album in this double set is called "Dark Matters" and it serves as a sequel to the "Ziltoid" album. On the Ziltoid album, DT played all of the instruments and sang all the vocals. This time, you get a lot of vocalists playing parts of the characters. This is a much louder album, pretty much all the way through, with only breaks here and there that serve to advance the story through narration and characterization. Now you get even more progressive rock, heavy metal and emotional vocals that you are more accustomed to with Devin. The story itself is quite hilarious. It is an over the top, satirical take on Science Fiction. The songs here are definitely louder than the first disc, but they are also more dramatic because of the nature of the story. Almost cinematic. You'll be listening to parts that sound like black metal with screaming vocals and suddenly you have a choir of voices singing. And even with such a silly story, you still get that "uplifted" feeling that you get when listening to emotional music. The best way to listen to this is with the lyrics, because you won't be able to follow the story any other way. The narration is easy enough to understand usually, but the parts that are sung by the characters will be hard to understand. Once you have heard it a few times though, you might tire of hearing the story and just listen to the music. DT thought about this and made a dialog free version of Z2 which is available in the Collector's Edition of the album.

Overall, there are some weak points, but it's still a great pair of albums. Not necessarily to masterpiece status, both together sporting many strong songs and aspects, but also having some weak parts too, but not enough to give the package a status of less than 4 stars. Not the best way to enter the DT discography, but great enough for those that are familiar with his music already.

 Devin Townsend Project: Addicted by TOWNSEND, DEVIN album cover Studio Album, 2009
3.85 | 314 ratings

BUY
Devin Townsend Project: Addicted
Devin Townsend Experimental/Post Metal

Review by TCat
Prog Reviewer

4 stars Under the name of The Devin Townsend Project, DT set out to do a series of 6 albums where the line up would change on each album and the overall sound or style of each album would also change. Another reason to love Devin, his versatility, but at the same time, he is cohesive in each individual outing. This was the 2nd album in this series. This time he was going with a poppier, danceable sound. That was a scary thought. Well, you can relax because he got that sound, but he did it very loudly! Immediately, you know it's Devin. You get his usual multi tracked guitars and keyboards to create that heavy metal wall of sound he is famous for. No, it's not noise, it's music. I don't know of very many artists that can achieve this as well as what Devin does.

The initial track comes barreling at you full force. A hard driving beat that makes your feet want to get up and dance and a crushing riff with Devin melodically screaming his lungs out. If this one doesn't get your blood rushing, you are already dead. There is no better way to start off an album, and you get a good idea of what Devin's intention was here, amazing melodic, hard and heavy rock that is infectious at the same time. "Universe in a Ball" is the next track and it also has a hard driving beat, but you get more of a progressive feel with this one. "Bend it Like Becker" stays exciting and hard with that continuing wall of sound and this is the first time that you hear Anneke's lead vocals on this particular album. She shares lead vocal duties with Devin throughout this album. She gives a more melodic feel to Devin's emotionally charged singing, and this is all combined into that massive wall of sound. You get a short break from that in the next track "Supercruisin'" with Anneke leading the vocals again and then everything comes crashing together again. This is an amazing track and goes down as one of Devin's best with plenty of prog present, but hard and still melodic.

"Hyperdrive" is a bit weaker, but still good. It is the same song that's on the first "Ziltoid" album, but made more accessible with Anneke's voice. "Resolve" however is powerful with both vocalists complimenting each other. Devin is at his screaming best here and Anneke is at her melodic best with what sounds like a chorus of demons behind them mixed into the sound. Amazing track. There is a sudden break in the wall of sound again on "Ih-Ah", and this time Devin sings in his best soft rock voice all of a sudden. Then towards the middle, things intensify a little as the two leads harmonize like you would never believe, and then Devin continues again. Yes, this is one of DT's softer and maybe even commercial songs, but it's still excellent. Totally unexpected.

"The Way Home" has a rapid fire beat that you would expect to hear in a Tech Metal song, but the melody and Devin's singing is quite mellow at first, but it builds up that wall of sound piece by piece, but it is melodic and emotional all the way through. "Numbered" starts out with a typical Devin riff, then Anneke's voice comes in all multi-layered. This one has a great driving guitar riff with a rhythm to match. Dev sings the verses and Anneke sings the choruses with a choir of her own harmonized voices. This one makes a great rock anthem. The last track "Awake" is the longest at over 9 minutes. It turns into quite an emotional yet loud song as it progresses, and soon Devin's growling and dirty vocals come in, staying melodic all through and easily sliding back to clean vocals while the music stays heavy without even blinking. Only Devin does this transition so well. Anneke sings the choruses again on this one. But they are at their strongest when they sing together. Simply amazing.

This album overall is excellent, there are only a few low points where the songs come to close to being too radio friendly, but they are shorter songs and don't ruin the enjoyment of this album. This is not quite the masterpiece that some of his other albums are, but don't let that stop you from getting this one if you love the hard and heavy, yet very emotional, music of Devin Townsend. This might be a good gateway album for people interested in entering to explore DT's excellent discography. Don't let the fact that Devin does scream and growl, because he can do it so melodically you almost don't realize he is doing it, and it only adds to his music like you wouldn't believe. It makes it so much more emotional. But, the only way you can truly appreciate his voice and his music is to listen to it. His music has plenty of progressiveness in it, this album is more on the melodic side, but it still doesn't disappoint . I can easily call this one an excellent addition to your collection, not necessarily his best and not a masterpiece, but still excellent.

 The Devin Townsend Band: Accelerated Evolution by TOWNSEND, DEVIN album cover Studio Album, 2003
3.92 | 227 ratings

BUY
The Devin Townsend Band: Accelerated Evolution
Devin Townsend Experimental/Post Metal

Review by TCat
Prog Reviewer

4 stars Accelerated Evolution was the first album that was released by The Devin Townsend Band. Previous albums by Devin were named as solo albums. This album was recorded at the same time as the Strapping Young Lad album (Another Devin Project of extreme metal) of the same year. AE was supposed to be the polar opposite of the SYL album. Even though this album is more listener friendly than the SYL album and most of DT's other albums, it still has plenty of explosive riffs and emotional sound. You still have Devin's Wall of Sound made with multi-layered guitars and keyboards. However, you can still notice a difference in the intensity here. There is also a lot less use of progressive elements in order to make the music more accessible. Devin does this well without compromising his signature sound too much. DT was praised by the critics in that he was able to do this so well.

Even with things a little more listener friendly, there is still plenty to love on this album and it is still a worthwhile addition to DT's discography. Devin still has an extreme amount of passion in his voice, which I love. Many people think this is screaming, but there is a difference here because you can hear Devin's passion in his music, and it moves me every time. I typically don't like screaming or growling vocals, but I love the sound that Devin gets from his voice, and like I said, it resemble passion more that just mere yelling and screaming, plus there is a lot of musicality when he reaches his extremes of his voice. Don't worry though if this scares you a bit, there is a lot more clean vocals on this album, and that still doesn't take away from his passion.

The album starts out with "Depth Charge" which is a very upcharges track, very similar to his usual style, and immediately you don't notice any changes. This is an amazing song that introduces you to his signature sound and is one of the more progressive songs on the album. Next, on "Storm", you hear a slight lift on the wall of noise sound, but there is still plenty of passion, even though his voice is clean now. This one builds and then explodes near the end, and the intensity is so high at the end that it almost brings tears to my eyes. After that, the track "Random Analysis" has a steady beat that goes through most of the song. This one to me is not as interesting in that it really offers not much change from start to finish and it doesn't stick with me so much.

The tone turns darker now as the feeling of "Deadhead" approaches a hard but slower beat, almost blues style but not quite. This gives us a nice change of pace to make sure things stay interesting. DT's voice is a lower register here, and things stay very interesting throughout this piece as it leads into a sort of psychedelic feel with layered vocals before it returns to the main theme again. This is followed by "Suicide" which remains dark but is driven by a harder beat and an amazing guitar riff that also drives the song. I love this one.

"Traveller" is more of a radio friendly song and doesn't really do much for me. "Away" comes next, and almost seems to segue from the previous track, so you think maybe things are going to sound same-y here, but this develops into something beautiful and flowing, somewhat similar to "Deep Peace" from the "Terria" album, but not quite the same. It is mostly instrumental, but has some subdued vocals deep in the mix. You notice now that somewhere along the way, the wall of sound is gone most of the time now, but there still is an intensity. "Sunday Afternoon" is also a beautiful track, more atmospheric and relaxing, yet still intense. "Slow Me Down" is just too typical MOR almost and I tend to lose interest in it before it's over. Even though the 2nd half of the album still has plenty of highlights, it does tend to lose some strength here which might get better after repeated listens.

The special edition of the album included a 3-track EP entitled "Project EKO". This is a completely different style from the regular album in that it is electronica done by Devin Townsend. This is nothing like anything he has done prior to this, but he will explore more of in the future. "Locate" has a steady mid tempo beat throughout with a short section with vocals mixed at a lower volume. Nothing much really happens here, just what sounds like some electronic noodling and etc. "Echo" is a little more interesting with some spoken word samples mixed in here and there. The rhythm is a more driving beat with some more traditional sounds put in to make it sound more authentic. The melodies over the top of the rhythm are more interesting that the previous track. "Assignable" is the last track. This one has a boring and repetitive rhythm track and a sort of psychedelic riff happening on top. Sort of like early Porcupine Tree instrumentals, but less interesting.

Overall , the main album is interesting especially on the first half. The second half is the more mellow side, but still has plenty on it to keep it interesting. Interest seems to wear thin though when things tend to get too accessible. Not a perfect album for DT, but still a great effort. I feel comfortable enough to give it 4 stars, mostly on the merit of the high points of the album. I am not counting in the EP as part of the rating because on it's own, it doesn't really do much for me, and it was added as a bonus and not part of the album.

 Moths To The Flame by ASTRONAUT DOWN album cover Studio Album, 2010
3.15 | 4 ratings

BUY
Moths To The Flame
Astronaut Down Experimental/Post Metal

Review by TenYearsAfter

3 stars "FIRST REVIEW OF THIS ALBUM"

Astronaut Down is a new New York based five piece band that released her concept debut CD entitled God's Eye in 2006. According to the liner notes in the information sheet 'the music of Astronaut Down strives to achieve a balance between the depth and complexity of progressive metal, and the accessible energy of mainstream rock. Intricate polyrhythms and ambitious song structures coexist with memorable melodies and subtly-evolving thematic progressions, all delivered with conviction and unmistakable vitality. Their influences range from old school progressive rock to contemporary technical metal, from melodic punk to post-hardcore. Astronaut Down plays new progressive rock, focusing on the composition, with a dynamic range of material that appeals to a wide range of listeners. The key is balance, whether carefully unfolding an elaborate instrumental passage, or delivering an anthemic chorus'. Well, that sounds pretty welcoming, to say the least!

During my first listening sessions I quickly notice a huge dynamic in the ten tracks. Astronaut Down easily and frequently shifts from dreamy with warm vocals and twanging guitars to heavy metal and prog metal with blistering guitars and thunderous drums. A few songs even contain grungy vocals, like Colossus and Our Greatest Mistake. At some moments the music reminds me of Swedish progrock formation Anekdoten (but without Mellotrons) during the more compelling parts (like in Starfall). And the composition Dissection evokes King Crimson due to the repetetive guitar work. Although the emphasis in Astronaut Down their music is on a more heavy and bombastic sound, we can enjoy some wonderful mellow interludes.

An atmospheric final part in Interlude.

A warm conclusion featuring duo acoustic guitar and pleasant vocals in Our Greatest Mistake.

And a dreamy climate with sensitive piano, vocals and acoustic guitar and a fragile guitar solo in de final track Moths (Part 2).

I have to say that I am not up to the more 'aggressive' parts of Astronaut Down their music. But I am impressed the way they have found a balance between mellow and heavy music. Personally I would add keyboards in order to colour the music a bit more, but that is very subjective. Also because I am from the Old Progrock School and a vintage keyboard freak. Nonetheless, if you are a proghead who likes 'hard and heavy with a mellow touch', this is an album to check out.

My rating: 3,5 star.

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 LOST STATE OF MIND United States
A((WAKE)) United States
AABSINTHE France
ABANDON Sweden
ABYSSE France
ACROSS TUNDRAS United States
ACYL France
ADMIRAL BROWNING United States
ADRIFT Spain
AFTER MY OWN United States
AGALLOCH United States
AGES GONE Germany
AKPHAEZYA France
AKROMA France
ALASKAN Canada
ALCEST France
ALTAR OF PLAGUES Ireland
AMARA United States
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
HIPOSPADIA Spain
HUMANFLY United Kingdom
HVOSCH Russia
HYDRA Mexico
HYPNO5E France
IDENTIFIED United States
IDIOT SAINT CRAZY France
THE ILLNESS United States
IN THE WOODS... Norway
IN.OVO Canada
INCOMING CEREBRAL OVERDRIVE Italy
INDUKTI Poland
INTER ARMA United States
INTRONAUT United States
IO United Kingdom
ION United States
IREPRESS United States
IRONWOOD Australia
IRREVERSIBLE United States
ISIS United States
ISTHMUS United States
IZAH Netherlands
JAKEL Canada
JANVS Italy
JESU United Kingdom
JEWY SABATAY Serbia
OLIVER KAAH Finland
KAILASH Italy
KALKI AVATARA Italy
KARABOUDJAN Sweden
KEELHAUL United States
KEKAL Indonesia
KHANATE United States
KHEMEŌA France
KHOMA Sweden
KHUDA United Kingdom
KICK THE BUTTERFLY Australia
KINGDOM Belgium
KLABAUTAMANN Germany
KOLLWITZ Norway
KONG Netherlands
KONGH Sweden
KOSMOGRAD Canada
KRAKOW Norway
KRUGER Switzerland
KYLESA United States
LANDFORGE United Kingdom
LANTLOS Germany
LATITUDES United Kingdom
LEFT BRAIN United States
LENTO Italy
LESBIAN United States
LIGHT BEARER United Kingdom
LITHIUM DAWN United States
L÷BO Portugal
LOOK TO WINDWARD New Zealand
LORUS 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
NIHIL Serbia
NINTH MOON BLACK United States
NO HOME FOR HEROES Australia
NO MADE SENSE United Kingdom
NOCTIS Australia
NOEKK Germany
NORTH United States
NOVEMBRE Italy
NUCLEUS TORN Switzerland
OBSIDIAN KINGDOM Spain
THE OCEAN DOESN'T WANT ME South Africa
THE OCEAN Germany
OCOAI United States
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
SISARE Finland
SKAGOS Canada
SKEWED SKIES Germany
SKUGGSJŃ Norway
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

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — jazz music reviews and archives | MetalMusicArchives.com — metal music reviews and archives