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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 | 1379 ratings
LATERALUS
Tool
4.22 | 658 ratings
PART THE SECOND
Maudlin Of The Well
4.33 | 122 ratings
IMAGINARY SONICSCAPE
Sigh
4.19 | 604 ratings
TERRIA
Townsend, Devin
4.26 | 173 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.19 | 307 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.16 | 650 ratings
JUDGEMENT
Anathema
4.16 | 540 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.18 | 282 ratings
BATH
Maudlin Of The Well
4.16 | 256 ratings
IN A FLESH AQUARIUM
Unexpect
4.50 | 38 ratings
FEA JUR
Lye By Mistake
4.13 | 350 ratings
THE MANTLE
Agalloch
4.13 | 315 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.19 | 137 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult of Luna
4.09 | 822 ratings
∆NIMA
Tool
4.11 | 308 ratings
FABLES OF THE SLEEPLESS EMPIRE
Unexpect
4.40 | 43 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.12 | 243 ratings
PANOPTICON
Isis
4.07 | 567 ratings
ALTERNATIVE 4
Anathema
4.08 | 311 ratings
MABOOL - THE STORY OF THE THREE SONS OF SEVEN
Orphaned Land

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

TERRAFORMING
Postman Syndrome, The
METRIDIUM FIELD
Giant Squid
A NEW WORLD?
Drawn
DEAD AS DREAMS
Weakling

Latest Experimental/Post Metal Music Reviews


 Written In Waters by VED BUENS ENDE album cover Studio Album, 1995
4.23 | 62 ratings

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Written In Waters
Ved Buens Ende Experimental/Post Metal

Review by Luqueasaur

5 stars Extreme metal without being extreme metal: 9/10

Undoubtfully, it requires an amazing dose of skill to capture the gloomy and perverse atmosphere of black metal without needing to appeal to the incessant brutality of thunderous blast beats, tundra-cold power chords, and barely audible demonic shrieks. To achieve this, VED BUENS ENDE ventures further beyond any contemporary extreme metal act of theirs, into territories of technical innovativeness both rhythmical and melodically to achieve a mesmerizing atmosphere...

of seduction, or better yet, of confinement. WRITTEN IN WATERS is murky, unhopeful and quite ethereal. Rather than visiting a dreamy sphere of fantasy, VED BUENS ENDE traps un in darker plains, to the lands where the cruel lord inhabits, where magic is wicked, the skies are always pitch-black haze and the breezes always blow unpleasantly cold and uninviting. The trees, withered, the lake where the swans swim, polluted, the dwellers, always with vicious smirks and ill intentions. In fact, WRITTEN IN WATERS' cover conveys a lot of the emotional concept within the album; of a twisted, doomed alternate dimension. Such spectacular world-build is perhaps VED BUENS ENDE's paramount achievement with their debut.

Many factors were significant for such achievement. We have the guitar riffs, with their distortion and muffed reverb but also careful structures not to sound sloppy. One may also cite the rhythm, competently leading the songs and their moods, always peppered with fluid drum fills and lots, LOTS of cymbals. Certainly, the clear vocals, beautifully sung but, audibly, concealing vile second thoughts (perfectly resembling an exquisite villain such as a classy vampire), alternating with the sporadic but spine-chilling ghastly shrieks (prominent in Den Saakaldte) offer a lot to the atmosphere. Even the lyrics, with their cryptic abstraction and suspicious naughtiness implied, are important factors to VED BUENS' twistedly built world.

This album is not brutal. It does not permeate anger, violence, cruelty, antisociality. It is not, either, cold, distant, emotionlessly efficient. It is not like a snowy Norwegian forest. It is a thoroughly supernatural, vividly bleak and incessantly innovative trip. It manages to be extreme metal, to be atmospheric black metal, without tackling the many characteristics that make black metal, well, black metal. Taking a detour, thinking out of the box, VED BUENS ENDE is a truly progressive extreme metal act which, even though wasn't able to emerge from obscurity, is highly recommended for people who are seeking creative metal acts, or maybe just experiencing finely-crafted atmospheric black metal with very little demonstrations of aggressivity.

"Leave. Leave... the misery of the swans, the sand smothered on our chests... was music choir..."

 Scenes From Hell by SIGH album cover Studio Album, 2010
4.01 | 32 ratings

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Scenes From Hell
Sigh Experimental/Post Metal

Review by Warthur
Prog Reviewer

4 stars The first Sigh album to include the scintillating contributions of Dr. Mikannibal on saxophone and vocals, Scenes From Hell continues the band's explorations of symphonic avant-black metal frenzy. David Tibet of Current 93 is an unexpected but welcome guest this time around, offering spoken word recitations on The Red Funeral and Musica In Tempora Belli (roughly translating to "Music In Times of War"). It's all gruesome, rough fun, though I do wonder whether a more lively production job wouldn't have teased out all the ingredients of Sigh's bizarre stew a bit more evenly. That said, the air of murkiness does harken back to Sigh's earliest releases, setting this in a continuity of musical development that began in the second wave of black metal and has fruited in this bizarre hybrid.
 Clearing the Path to Ascend by YOB album cover Studio Album, 2014
4.00 | 13 ratings

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Clearing the Path to Ascend
YOB Experimental/Post Metal

Review by Warthur
Prog Reviewer

4 stars Offering a set of four sludgy doom metal epics (not one track less than 10 minutes), YOB's Clearing the Path to Ascend combines the gnostic spiritual themes of the likes of Om with a crushingly heavy set of riffs. This isn't a matter of brushing some leaves off the path - this is about getting a bulldozer in to clear a serious blockage.

At any particular point there's often some other influence creeping in next to the doom metal - religious music, black metal shrieks, folk-tinged post-rock, all fuse somehow with the monolithic riffs in order to provide a richer than expected experience.

 Resilience by SMOHALLA album cover Studio Album, 2011
4.00 | 1 ratings

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Resilience
Smohalla Experimental/Post Metal

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

— First review of this album —
4 stars Wriggling sonic worms rippling through the undulating waves of the cosmos.

What are they putting in those macaroons? France has always been a nation that has taken the arts to places no one thought possible and that's not only true in the kitchen with French food registering high on the yum-o-meter but in the 21st century, this is the nation that has been killin' it in the extreme metal market all across the board but especially in the cross-pollinating fertile possibilities of black metal and beyond. Emerging somewhere from the Normandy region a band called SMOHALLA formed in 2006 and presented a new strange form of metal that gives credence to a new subgenre that could be penned "psychedelic metal" since despite it's black metal connections, takes the listener into the far reaches of the space rock continuum and just happens to add a touch of metal gusto in fully adrenalized fashion. The band got their name from a 19th century Native American prophet from the Northwest region of the USA and the name means "dreamer" in the indigenous Sahaptin language. And what a perfect name for this band that exemplifies the most surreal of soundscapes that simulate the dream state more than anything remotely traditional compositionally speaking.

After two EPs the band that consists of Slo who handles the guitar work, percussion and vocals, Camille Giraudeau who handles bass and A.L. who conjures up the electronic wizardry and programming, finally released their first full length album R√?SILIENCE in 2011 and takes their space cadet ride presented on the first two releases goes for the jugular. Once again SMOHALLA boldly goes where no other metal band had gone before and created a bizarre concoction of dark ambient, operatic classical, progressive black metal and trip hop, only they take it to even stranger world as if the multiverse is collapsing on itself and various genres of sound are battling it out to dominate the successor of the throne. Seriously folks, music does not get more bizarre or surreal than this experimental and psychedelic sonic feast of avant-garde run amok. Imagine musical constructs that flow more like clouds slowly in the sky with subtle variations deviating from what preceded in a never changing structured yet formless march through time. That's exactly what SMOHALLA deliver and on R√?SILIENCE they take these attributes to even more extremes.

Musically speaking, SMOHALLA develop small melodic riffs that blossom into an infinite number of variations that take form. Much like second wave black metal that utilized a simple riff that in the case of SMOHALLA seems mostly derived from Western classical sources but as the repetitive blockchain of riffage oscillates into the future, liberties are taken to differentiate the time signatures, dynamics, instrumentation and focus which at any time can bleed into another totally unrelated musical motif. While similar to the previous EPs, R√?SILIENCE is more relentless in its brutal attack and layering of styles over each other to create an extremely busy and surreal effect. One of the main elements includes progressive and tremolo picked angular black metal riffing which sometimes exhibits angry and raspy vocalizations and also employs clean Enslaved like vocals on their most progressive 21st century releases with similar chord progresses that are funneled through the schizoid grinder and given a healthy dose of acid blotter for good measure. The other major player is the atmospheric bombastic accoutrements that echo an epic soundtrack of clashing worlds while subdued choral utterances struggle to break through the caustic din.

The whole album flows with a trip hop sort of backbeat and even feels like it flagellates like a paramecium in a petri dish as the rhythmic pulses undulate like waves and exhibit the same unpredictability that the ocean does as it pummels the coast. Dream states come to mind when half baked ideas sputter into nothingness and suddenly drift off into completely new territory but not in a startling way but more in a connective way that creates bridges between randomness. Very strange stuff on this one and one that is perfect for those who crave totally tripped out metal that takes the listener on one of the farthest reaches of surrealistic sonic journeys. This is one of those albums that i can never quite grasp. It's like wrestling a giant jellyfish in a bathtub and never knowing what's really within reach. It's just tangible enough to grasp rhythmic patterns and melodic embryos yet somehow leapfrogging counterpoints distract and disorient all reality. If you want WEIRD metal, then look no further than SMOHALLA. This will surely be too bizarre for most but recommended for those who crave the most intense WTF experiences possible.

 Nova Persei by SMOHALLA album cover Singles/EPs/Fan Club/Promo, 2007
4.00 | 2 ratings

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Nova Persei
Smohalla Experimental/Post Metal

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

4 stars SMOHALLA emerged from the Normandy region of France but adopted their name from the Native American Wanapum prophet from the Dreamer's movement in the US Pacific Northwest region. Living up to their appellation, this band found a unique niche in carving out some of the most surreal and psychedelic metal of the 21st century. Although their first release "Smolensk Collection" was initially a demo, it became a fully fledged member of the official SMOHALLA canon yet lacked a production that distinguished it from its initial demo status. While formed in 2006, the band that consists of three members: Slo (guitar, percussion and vocals), Camille Giraudeau (bass) and A.L. (electronic wizardry and programming) plus mystery guests such as the sonic siren who supplies the operatic female vocals.

NOVA PERSEI was technically their first official release as a short near 21 minute EP that contains six tracks that unleash the full avant-garde prowess of SMOHALLA's vibrant inhibition. As on the demo turned official release which preceded NOVA PERSEI, this collection of bizarre musical concoctions is chock full of avant-garde progressive metal in the vein of Enslaved, Ulver, Ved Buens Ende, Solefald, Arcturus and Elend melded with psychedelic electronica and progressive rock that evokes everything from the psychedelic mellotron rock of Pink Floyd to the ethereal dream pop of the Cocteau Twins albeit with a production and mixing that blows "Smolensk Collection" away and a sense of adventurism on steroids.

While also on that release, the compositions were complex and unrelentingly unpredictable, on NOVA PERSEI the musical constructs are even more twisted and surreal and the only word that adequately describes them is "chaotic." This EP was inspired by the writings of H.P. Lovecraft and evokes a soundtrack to a grand chaotic battle between the star NOVA PERSEI and the demon star "Algol," which awakens the spirit to a cold eternal darkness that permeates space as the phantasmagoric parade of disparate musical elements clash and collaborate in seemingly random modes of sonic interplay with tremolo guitar distortion blasting through the ethereal winds of the synthesizers and bilingual utterances of raspy black metal, clean progressive rock and operatic divas create a beyond bizarre listening experience.

Chaotic indeed as everything on NOVA PERSEI is unrelenting and in-yer-face with heavy angular metal riffing duking it out with placid clean vocal progressive rock, operatic angels singing in the horizon and trip hop electronica beats. While there are times of respite such as the surreal intro of "Algol," the music takes no time to deviate from a calm angularity to a frenetic surrealistic black metal nightmare. The superior production allows a mystifying tapestry of brutal metal, otherworldly keyboards and incongruent clean chanted vocals alongside brutal black metal raspy screams. In some ways, SMOHALLA evokes a less chaotic version of Unexpect minus the comical circus music and gypsy jazz. SMOHALLA certainly isn't for the faint of heart. This is some of the most complex and convoluted mix of musical ideas there is to be had. It is truly an interdimensional battle of disparate musical styles offering the listener a glimpse into a delicate balance that seems on a tightrope ready to derail completely.

 Smolensk Collection by SMOHALLA album cover Singles/EPs/Fan Club/Promo, 2006
3.00 | 1 ratings

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Smolensk Collection
Smohalla Experimental/Post Metal

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

— First review of this album —
3 stars Sometimes the name of a band tells the tale of the way their music sounds assuming you understand the origin. SMOHALLA is one such band that formed in 2006 in the Normandy region of France but took their name from a Native American prophet associated with the Dreamer's movement in current day Washington state. In fact the name SMOHALLA means 'dreamer' in the Sahaptin language which in recent years has neared linguistic extinction. The term actually describes this bizarre avant-garde metal band's overall style quite accurately since the mix of a post-black metal style of aggression commingled with progressive rock and electronica indeed paints a surreal dreamy haze of musical flow that takes angular angelic atmospheres and punctuates them with heavy jagged metallic outbursts.

The band consists of three members. Slo who handles the guitar work, percussion and vocals, Camille Giraudeau who handles bass and A.L. who conjures up the electronic wizardry and programming. While a mere trio, these musicians pump out some of the most bizarre and surreal metal music i've ever heard. And i've heard a lot! SMOLENSK COLLECTION was released the same year of formation initially as a demo but soon became a fully fledged EP in retrospect as it is readily available for purchase on Bandcamp and included in the band's overall discography. The band cite many Gothic and avant-garde prog metal bands as their influences including Ulver, Ved Buens Ende, Solefald, Arcturus, Elend and even Pink Floyd.

If there was ever an argument for the adoption of the 'psychedelic metal' tag then SMOHALLA fits that bill perfectly since beginning with this very first offering they offer an entrancing display of ethereal sonic dreamscapes that utilize innovative and unpredictable melodies and atmospheres to join hands and take a musical journey into the far reaches of outer space and beyond. While the hypnotic electronic sounds can imitate Portishead-esque trip hop and downtempo, operatic female vocals emerge through the misty haze to add touches of calming classical music before the storm of jagged angular guitar riffs punctuate the serenity as black metal raspy vocals scream from a distance. There are many elements in the music and too many to mention as the clever crafting of samples, twisted distorted metal and pneumatic episodic meandering dominate the soundscape.

While initially released as a demo, none of the tracks on SMOLENSK COLLECTION are available on other releases and therefore an essential listening experience if you happen to fancy the most progressive side of Enslaved mixed with the angular grace of Arcturus in the distorted continuum of Maudlin of the Well. At times frenetic and at times a mere flow of cosmic sound, SMOHALLA is one of the strangest bands that falls into the metal world that can be heard. Think of this as an interdimensional clash between progressive black metal, avant-garde operatic symphonies and Shpongle-esque psybient touch as heard on the nine minute dark ambient closer 'Lethal Silence.' While this may have achieved the status of EP, it does retain a demo like production level but despite that i actually find this a very interesting and exciting listen since the music is so powerful that the somewhat flat and tinny mixing only adds another layer of surrealism as if one must burrow deeper into the next dimension to fully appreciate the full-spectrum experience.

3.5 but rounded down for production

 Scenario IV: Dread Dreams by SIGH album cover Studio Album, 1999
3.91 | 32 ratings

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Scenario IV: Dread Dreams
Sigh Experimental/Post Metal

Review by Warthur
Prog Reviewer

4 stars Scenario IV by Sigh might be better entitled "Hail Horror Hail II", since it's largely a continuation of the general approach of that album, with extensive shifts of musical style and approach mid-composition being a regular occurrence. With a range of extreme metal styles and non-metal styles, as well as sections combining the two (there's bits which recall some of the more "black 'n' roll" segments of Hail Horror Hail, for instance), it's certainly as diverse an album as its predecessor, though the transitions here seem more abrupt and arbitrary than on that album.

It's still a very solid release, mind - "not as good as Hail Horror Hail" still leaves room to be very, very good indeed.

 Alba - Les Ombres Errantes by HYPNO5E album cover Studio Album, 2018
3.83 | 3 ratings

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Alba - Les Ombres Errantes
Hypno5e Experimental/Post Metal

Review by mitarai_panda

4 stars Hypno5e is an experimental/post metal band from Montpellier, France, established in 2003. Their music is considered to be all-in-one with the visual arts, because the band's personnel are also professionals in the film industry. Their idea is to combine sound and space imagination, give it an abstract meaning, and make music technical and Deep emotions come together, and albums are mostly concept albums. The theme is the interpretation of life. During the band's performance, video and movies are often projected to show the power of image and music. Since 2007, four albums have been released. This year's new "Alba - Les Ombres Errantes" has a full 75 minutes long, which is actually a complete soundtrack for the band's guitarist. Listening to the opening song does not have any metallic taste. Instead, it is folk and psychedelic, some pf, but the English in French sounds awkward. It only shows the heavy side until the end. Because it is a film soundtrack, there will be many narrations and dialogues in the songs (returning back to French). I think this will affect musicality to a certain extent, but there is no way to do it. In addition, some of the melody of folk music, plus most of them are solo acoustic guitar, so it seems to have a small fresh flavor and exotic style, and the voice of the lead singer is also very open (reverberation use much?), In other words, some of the experimental sound effects show that they are different. I think if you remove these monologues, you can have four stars. At present, between Samsung's half and four stars, you can hear it.
 Jesu by JESU album cover Studio Album, 2005
4.02 | 20 ratings

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Jesu
Jesu Experimental/Post Metal

Review by Warthur
Prog Reviewer

4 stars Justin Broadrick of Godflesh and (briefly, in one of their earliest lineups) Napalm Death fame offers up the debut album of Jesu, a drone metal project exploring the sonic territory that lurks between industrial metal and a bank of overworked vacuum cleaners. Fat, doomy riffs keep things varied, but the underlying drone never ceases, it merely evolves and grumbles as it is passed from instrument to instrument. Shoegazey influences creep in here and there, particularly in the vocals, though to be honest I consider them the weakest aspect of the album. (Of all the sonic features of shoegaze you could seek to imitate, I'd say the customary shoegaze vocal style should be at the bottom of the list - it was endearing in its original context but is just irritating outside of it.)
 Superheat (Live Album) by GATHERING, THE album cover Live, 2000
3.58 | 34 ratings

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Superheat (Live Album)
The Gathering Experimental/Post Metal

Review by thwok

4 stars Like our fellow reviewer Bonnek, I'm not much of a fan of live albums. Check out his fine review of Superheat on this site, by the way. For me, the primary benefit of a live concert is the way the band interacts with the audience. Otherwise, I'd rather listen to the studio album. This live album goes a long way towards overcoming my bias.

Anneke Van Giersbergen is a terrific live performer, beyond her obvious singing skills. Check out their other concerts on Youtube, or better yet buy a DVD. The enthusiasm she brings to "On Most Surfaces" here is particularly outstanding. THE GATHERING just seem energized in these concerts from their homeland. As other reviewers have mentioned, the rhythm section of Hugo and Hans drives the music to new heights. The band sounds like they drank a bunch of Red Bull before they went on stage. I hope they make a habit out of it!

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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 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
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TRANSMISSION0 Netherlands
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