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 FANTMAS, SECRET CHIEFS 3 and ESTRADASPHERE but also inspired new Experimental Metal acts to take the music scene to new heights.
Another crucial artist in the development of Experimental Progressive Metal was the leading Avant Metal band of the 80s, CELTIC FROST. Their eclectic mix of Thrash, Doom, Symphonic and Goth Metal created a dark theatrical mystique that became a major influence among the experimental Extreme Metal bands of the 90s such as MY DYING BRIDE, ULVER, ARCTURUS among others. These bands served as an important source of inspiration for the experimental movement within extreme metal.

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

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

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

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


Post Metal

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

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

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

Variations of Post-metal

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

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

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

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


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

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

Experimental/Post Metal Top Albums


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

4.24 | 587 ratings
PART THE SECOND
Maudlin Of The Well
4.22 | 1201 ratings
LATERALUS
Tool
4.22 | 556 ratings
TERRIA
Townsend, Devin
4.33 | 102 ratings
IMAGINARY SONICSCAPE
Sigh
4.19 | 493 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.27 | 146 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.17 | 591 ratings
JUDGEMENT
Anathema
4.20 | 270 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.17 | 242 ratings
IN A FLESH AQUARIUM
Unexpect
4.17 | 240 ratings
BATH
Maudlin Of The Well
4.54 | 33 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.13 | 293 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.18 | 127 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult of Luna
4.08 | 734 ratings
NIMA
Tool
4.11 | 307 ratings
THE MANTLE
Agalloch
4.09 | 517 ratings
ALTERNATIVE 4
Anathema
4.12 | 212 ratings
PANOPTICON
Isis
4.10 | 289 ratings
MABOOL - THE STORY OF THE THREE SONS OF SEVEN
Orphaned Land
4.30 | 55 ratings
SOULS AT ZERO
Neurosis
4.63 | 24 ratings
FEA JUR
Lye By Mistake

Experimental/Post Metal overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Experimental/Post Metal experts team

IRLYA - IL Y A -
Mutyumu
KLD
Solstafir
BLESSED ARE THE BONDS
Pax Cecilia, The
IF_THEN_ELSE
Gathering, The

Download (Stream) Free Experimental/Post Metal MP3


Open player in a new window

Download (Stream) Free Experimental/Post Metal MP3

Latest Experimental/Post Metal Music Reviews


 Nomon by YAVU album cover Studio Album, 2013
4.00 | 1 ratings

BUY
Nomon
Yavu Experimental/Post Metal

Review by progadicto

— First review of this album —
4 stars There is a vast number of bands from Northern Chile making interesting acts and Yav is one of them.

Formed 'round 2010, Yav is a regular number in many stages for many reasons, most of them stamped in their first release: risky and successful mixes of heavy metal and post-rock melacholic atmospheres which reminds some Irepress or Animals As Leaders acts, and raw but metaphoric lyrics talking about the madness of this actual brave new world. This mixture of different and opposite textures reaches some fine and enriched songs such as "La Histeria del Mundo", "Mdula" and "Elixir", maybe the three strongest pieces of this debut album.

Fans of post-metal will find in this album many great material to listen perhaps fans of more melodic post-rock a la Mogwai will find some interesting and atmospheric sections in this unusual but interesting experiment with lots of inffluences but with an own and particular sound...

 Null by INTRONAUT album cover Singles/EPs/Fan Club/Promo, 2006
3.00 | 3 ratings

BUY
Null
Intronaut Experimental/Post Metal

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars Originally this came out as their first demo titled "NULL - Demonstration Extended Play Compact Disc" that was recorded and released in 2005, but the band managed to impress the ears of the good folks at Goodfellow Records and this was repackaged, given a real album cover and released simply as NULL which became their very first release as an EP. The demo only had four tracks but an additional fifth track "Burning These Days" was included on the EP.

NULL shows just how much INTRONAUT have changed over the course of a decade, however much of their progressive take on the world of sludge metal is quite in tact on this first output. NULL reminds me a lot of the earliest Mastodon releases where their music is much more aggressive and fueled with adrenaline with fewer slower jazzy passages slipped into the mix but not totally devoid thereof either. For the most part Sacha Dunable's vocals are growly and remind me a lot of Luc Lemay from Gorguts at this stage with very, very little clean vocals to be heard. The band are already adept at playing extremely complex riffs that form their signature melodic dissonance as Leon Del Muerte and Dunable deliver highly distorted and aggressive guitar riffs backed up by equally hardcore bass techniques of Joe Lester. Danny Walker has mastered the sludge metal drum sound but on this one he plays more aggressively and all the tracks are of a much higher tempo than much of the albums that follow. The time sigs and progressiveness is already in full play.

If you're already an INTRONAUT fan don't miss this debut EP for it's as entertaining as any of the lot but it is true that the intricacies and complex song structures that they would really develop on "Prehistorians" are not quite so characteristic of their sound at this stage. This is a band that wants to blow the roof off the house pumping out fast and furious sludge metal without much of the atmospheric touches that they successfully weave into their overall trademark brand of sludge. While i wouldn't call this their most essential offering i do find it one that i can't live without and a highly enjoyable form of sonic torturous eardrum bombardment.

3.5 rounded down

 The Direction of Last Things by INTRONAUT album cover Studio Album, 2015
4.25 | 29 ratings

BUY
The Direction of Last Things
Intronaut Experimental/Post Metal

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars Since their debut on the progressive metal scene in 2006 with "Void," INTRONAUT have only upped their game incrementally ever since pumping out one amazing album after another pleasing us progressive rock fiends who haven't outgrown the extreme metal that sustains us. To the chagrin of some of us when an extreme metal band gets too soft, which was the case on "Habitial Levitations" where vocalist Sacha Dunable eschewed the growly extreme madness that makes extreme metal, well? extreme, is usually a sign that a band is on its way on the downside. Just something about shouted, growly and guttural vocals on top of highly distorted and anarchic sounding instrumentation just gives it that extra oomph.

Fears were being raised of going "Opeth" on that album that perhaps the band was toning things down a bit. Perhaps members were having babies, perhaps knitting sweaters for their wives, taking up home brewing or simply joining local cricket clubs. Well any such fears have been erased on their 2015 release THE DIRECTION OF LAST THINGS. Right from the very first glance of blackened birds swirling into the void reminds us of past glories that bring their magnum opus "Prehistoricisms" immediately to mind. The band was back to prove that they have indeed carved out their own brand of progressive atmospheric sludge metal and with this latest release they certainly have done so.

On THE DIRECTION OF LAST THINGS the band really takes all the best aspects of the past and borrows liberally from some of their influences and inserting them into their heavy distorted progressive madness that manages to combine totally new sonicscapes to escape within. Between the odd time signatures of the guitars of Dave Timnick and Sacha Dunable as well as the jazz-infused drumming talents of Danny Walker interacting on seemingly different worlds but threading it all together and the fretless bass maestrohood of Joe Lester, INTRONAUT simply has hit upon a sound and style all their own and with this latest release they only cement that sentiment into an already earned status placing them in the leagues of the influences heard on this album including the likes of Messhugah, Mastodon, Alice In Chains, Oceansize, Tool, Between The Buried And Me and beyond. However this band is certainly more than the sum of their influences thrown into a blender and randomly spewed out.

The beauty of INTRONAUT is how well they can cut and past and perfectly blend a furious storm of dissonance with various forms of abstract melodic development. They really know how to take the model of the structure of verse / chorus / verse / bridge / chorus thing and magnify that principle and into a much more complex mathematical equation, so while they are clearly in experimental mode they pay attention to keeping some sort of mental tracking system that takes patterns and repeats ideas enough as not to lose one's bearings, however this is indeed complex music and an acquired taste that demands multiple listens to fully comprehend.

What really strikes me more than anything about this album is how well the songs are constructed. They really take the listener on an interesting ride keeping all the past INTRONAUT styles and instrumentation in tact but utilizing an abundance of riffing, vocal styles, pulverizing drumming and atmospheres just dripping in aggression, melancholy and extra-dimensional prowess. The production is also extraordinary as every little sound is animated and allowed to fulfill its potential. It always amazes me at some of the negative reviews and ratings that go with the instant gratification process that music has in general garnered over the decades. This album is one that does not bring that happy joy joy feel upon first listen although it is not without its hooks and addictive qualities, rather it is one of those albums that ratchets up the listener's senses upon repeated listening. I'm finding this to be so much more satisfying upon repeated bombardments of my senses! While i understand this is truly a progressive metal band in the truest sense of the meaning, i don't find superficial exposure to be adequate in the eternal art of "getting it". This is music that took years to put together. Music that is to be worked for is some of the most satisfying music i have found and this definitely falls into that camp for even as an INTRONAUT fan i've had to pay special attention to the details.

This is highly recommended for all the obvious sludge metal freaks who like Isis, Mastodon, Baroness, Neurosis and beyond but there are many progressive aspects i am hearing that bring Enslaved, Gorguts, Alice In Chains, Tool and even Meshuggah to mind. Well worth the price of admission and one that only gets better the more you listen to it, at least that has been the case for me. Perhaps not quite as perfect as "Prehistoricisms" but definitely a close second in their discography for me and one that i am convinced will only garner more attention over the time as these days we are inundated with so much music that it's impossible to digest it all. What a wonderful problem to have!

4.5 but rounded UP!

 Sleepy Buildings - A Semi Acoustic Evening by GATHERING, THE album cover Live, 2004
3.98 | 57 ratings

BUY
Sleepy Buildings - A Semi Acoustic Evening
The Gathering Experimental/Post Metal

Review by memowakeman
Special Collaborator Honorary Collaborator

3 stars I think I've been in love with The Gathering for the last three years, and now I can say it is one of those bands I regret I never see in concert, pity me. But well, every time I listen to them I am fed with emotions, memories and stories, something not so many bands produces on me. We all know that Anneke's years made this band bigger and unforgettable, she is without a doubt THE Gathering's voice (though I LOVE Silje), and every single record they released with her voice is a delight.

This live album is different, because it has a lot of acoustic passages and most of the songs (if not all) had new arrangements, I mean, they were re-worked songs for this special semi-acoustic evening. So the band surprised the audience and the album's listeners because it features great iconic and not that iconic songs from their repertoire with a softer sound that was magnificently complemented by Anneke's beautiful, powerful and emotional voice.

Of course when someone aims to listen to The Gathering, it is expected to find those metal roots and those experimental moments they created with their 90s albums, which is why listening to this live album might be a double- edged knife, because you either might feel that lack of power, or you might find the magic that surrounded this show. I love the band and I stay with the magic, but I cannot deny this is not my favorite live release.

The night and the concert were beautiful, the music makes you travel with those wonderful guitars and keyboards, but without a doubt the main magic lies on Van Giersbergen's vocals and charisma. The band seemed to be connected so everything flows naturally, so this is without a doubt a great concert, a nice experiment that a fan like me appreciates, but honestly I would not use this as an introductory album, I would not recommend it unless I know the person already knows and likes The Gathering.

My favorite moments are: "Amity", "Red is a Slow Color", "Eleanor" and of course, the mighty "Travel", a song that never fails. My final grade will be 3 stars.

Enjoy it!

 As Grey As They Said by CARONTTE album cover Studio Album, 2010
4.91 | 2 ratings

BUY
As Grey As They Said
Carontte Experimental/Post Metal

Review by Insin

5 stars As Grey as They Said is an obscure gem that demonstrates all of the best qualities of post-rock and post-metal, from a band that unfortunately does not seem to have been very active lately or have much other material. Bouncing effortlessly between extremes of clean, light post-rock, into heaviness in both a traditional musical sense and in mood, the movement along the entire spectrum of post-rock/metal is crucial to the value of this album, and to top it off Carontte's songwriting is strong as well.

The balance of the extremes in mood and the moderation between them gives AGATS variety and depth that lends it more uniqueness and holds the concentration. The two short songs rely on either one or the other in terms of lightness/heaviness, and the amount of sounds that Carontte is able to pull from helps keep their more frequent longer epics more interesting and dynamic. Right from the opening chord of Grey, they immediately create a bleak, almost post-apocalyptic atmosphere favorited by bands like Godspeed You! Black Emperor and Altar of Plagues, a feeling that Carontte often revisits throughout AGATS. Meanwhile on songs From Red Horizons and Weak, they pull largely from the bright, clean, and uplifting post-rock of Explosions in the Sky. Carontte's songwriting is also stronger than many other bands of their ilk. Some groups write songs of length but don't know how to keep the listener's attention (or gain it in the first place), but this is not a problem with Carontte. Of the seven songs on AGATS, five of them pass the eight minute mark, and the band is able to keep them fairly interesting, using their sound that encompasses the entire spectrum of post-rock/metal, to their advantage as there is enough variety within it to allow for dynamics. The vocals, inconsistent in their style and presence, still do help AGATS pop out more, and are wont to grab the attention, just like the first chord of Grey. The long songs rely more on numerous small peaks throughout their runtimes rather than one dramatic finish.

AGATS does not truly progress the post-rock and metal genres but instead summarizes and fuses their best elements, with the help of engaging songwriting. The exploration of the full spectrum of heaviness and its upbeat to depressing moods makes this woefully underrated and obscure album shine. If you can handle some harsh vocals and you're searching for more post-rock/metal, do yourself a favor and listen to this. It isn't quite perfect and I am rounding up to five stars, but AGATS definitely deserves more attention.

 Inside The Bent by SENMUTH album cover Studio Album, 2013
3.05 | 2 ratings

BUY
Inside The Bent
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

3 stars 40 miles from Giza there's a complex of pyramids, but they are different and more ancient than those well known in Giza. The "Great beginning of Dahshur" is this: the start of the Egyptian greatness. This is why this unusually melodic tune starts at low volume to grow sowly. It represents a beginning. The mood changes suddenly with the second track. The sound of percussion like metal hammers (I think it's a Sistrum) give the idea of slaves working in the building of the Snefru Pyramid, the first with the known shape. No more big stairs. Just a bit more than one minute.

This travel through the Egyptian history proceeds entering the buildings of the ancient kingdom which started around the 2700 BC. Quite old, isn't it? The track starts with low volume sounds, like a sort of wind. The listener can imagine an archeologist entering a building for the first time. It's an electronic track, we could call it a drone, but the sound of a hammer gives it a dark atmosphere, sounding like a deadly bell. The track fades into "Descending Passageway", just to remain in the shoes of the acheologist. Also in this case there's no track of melody: just percussion and drone keyboard. The continuous sound in the background, is likely the Senmuth's 7 string electric guitar which after 1.30 minutes raises a melody, but without loosing the atmosphere created previously. A good track with changes in tonality not as disconnected as sometimes happens with this artist.

"Antechamber" brings us back to the darkness. Hammers again, over a windy background. Percussion are added to the hammer and the track is transformed in a sort of percussion solo giving the idea of a tribal rite. After 4 minutes the percussion stops leaving only the windy dark background.

It's clear that now we are descending into a tomb. We enter "Chamber I". Still driven by the percussion with almost nothing else than a background of guitar end keys, with the guitar playing long bass distorted notes. Listening carefully there's also some melody hidden behind the guitar. The key to this track is concentrate on that melody letting the percussion hypnotize you until, after 3;30 minutes, this long track intro is done. SInce now on this track which scores 8:40 minutes alternates different moments, all of them dark.

A "Connecting tunnel" made of a single chord arrives. All those "chapters" could be considered a single long suite as there's no much variance. The "Portcullis" is a sort of gate, door. To open it our archeologist has to try two different configurations. The first has chords and melody introducing another piece of percussion driven track which later calms down and goes back to a melodic section which lasts until the end. The Second configuration opens something. It's a mixture of ethnic music and electronic, quite usual for him.

Finally inside. The Corridor of Dead dust...how would you imagine the music here? I think the intro couldn't have been different. Then it proceeds more structured. "Nebmaat" is a synonym of Snefru. So the pyramid's owner. In his sepolcral room we think to have finally reached the core of it all, but there's some more: the second great chamber. This is a track that can live standalone, while still being part of this sort of suite.

Now our archeologist has seen everything. It's time to reconsider this descent. In "Atmosphere of life and death" the hammer is back. Again it's drone sounds and the hammer plus some tapes here and there and accents from a heavily distorted guitar. A 13 minutes track that could have been recorded by Phrozenlight, if it wasn't for the guitar which plays some notes which becom a sort of repetitive melody. Quite Berlin school.

The closer doesn't add much to the album. It's so silent that I can say that it doesn't add anything. But its title "The Stone Dust of the Millennium" says all.

In brief, it's an album which requires its moment and the wish of getting lost in its mood.

Senmuth says:

"The album was written after visit the Bent Pyramid of Dahshur by the "ISIDA Project" expedition in 2012"

It explains all.

 The Retinal Circus by TOWNSEND, DEVIN album cover Live, 2013
4.83 | 35 ratings

BUY
The Retinal Circus
Devin Townsend Experimental/Post Metal

Review by Prog Leviathan
Prog Reviewer

5 stars With Retinal Circus Devin Townsend takes us on a theatrical retrospective of his musical career to date. If you aren't familiar with this man's musical output, then do yourself a favor and become so right away, because Devin is an amazing force in music lurking in the Experimental/Post Metal genre here on Prog Archives (with only two albums in the top 20... practically criminal!). If you're interested in reading more about the music itself, check out any of my reviews of his albums where I continually need to come up with new adjectives to describe and gush over his exceptionally entertaining music.

As for the Retinal Circus itself, it's hard to imagine a more crowd pleasing experience. If you're a fan of Townsend, this live album is practically mandatory. The production value is through the roof. With this DVD version you get: the video concert, the CD audio, and some groovy packaging extras. The concert video itself shows off Devin's tongue-in-cheek sense of humor excellently, with consumes, extras, special effects, voice overs, puppets... and a bunch of other stuff I won't spoil. It's a poor-man's stage musical, but that's sort of the point. There are lots of jokes and fun poked at rock music and the concert-going experience in general. It's rare that a concert DVD makes itself the preferred purchase, but this is the best example I can think of.

The musical performances are first-rate, with the inclusion of a full choir and live vocals by Devin's frequent collaborate Van Giersbergen the perfect touch. It's a sign of genuine talent that Devin and his band of excellent backing musicians can replicate the complexity of his studio work on stage.

Ironically, the album's selling point as a retrospective is one point that doesn't quite deliver. The set list isn't as comprehensive as it could have been. Large percentages of the set list come from Epicloud, Ziltoid, and Infinity. We get nothing from Terria (what is considered on Prog Archives as his best album) or Accelerated Evolution (another great release), or Ki. This will bum out some more than others; personally, I love Epicloud, but think that we're missing something by favoring some material more heavily than others.

So, a minor quibble, but not enough to take away the razzle dazzle and enjoyment that any fan of Townsend will walk away from with the Retinal Circus. As a live album it doesn't get much better than this.

Set list: 4 - Instrumental Performances: 5 - Stage/Energy: 5 - Live Experience: 5

 All Is Left To See by MOLOKEN album cover Singles/EPs/Fan Club/Promo, 2015
3.00 | 1 ratings

BUY
All Is Left To See
Moloken Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

— First review of this album —
3 stars "All Is Left to See" is the 3rd full-length studio album by Swedish sludge/post metal act Moloken. The album was released through Temple of Torturous in October 2015. Moloken was formed in 2007 and released their debut full-length studio album "Our Astral Circle" in 2009. "All Is Left to See" was preceeded by "Rural" from 2011.

Stylistically the music on "All Is Left to See" is still situated in atmospheric sludge/post metal territory, like the case also was on the predecessor. "All Is Left to See" is slightly different from what the band has released before though, as it's a pretty short release featuring only 8 tracks and a full playing time of 29:12 minutes. That in itself isn't necessarily strange or an issue, but when you learn that 3 out of those 8 tracks are short interludes, it becomes a bit more of a topic. Add to that, that the closing track "Beginning of the End" is a quiet, melancholic, and atmospheric instrumental featuring a lead violin, the album in reality only features 4 "regular" length sludge/post metal tracks. Again that's not necessarily an issue if the short interlude tracks and the atmospheric closing track added something special to the flow of the album, but other than "Beginning of the End", which is actually a beautiful way of closing an album, the other short interludes work more as distractions than enhancements of the album flow. Harsh put it's like the band had some half-finished ideas, that they ended up using as fillers, because of lack of original material to put on the album. A bit of a shame really, because all 4 "regular" tracks are pretty great atmospheric sludge/post metal.

The sound production is raw, powerful, and detailed, and suits the music well. The musicianship is on a high level on all posts. I especially noticed the drumming which is quite memorable. The vocals are well performed aggressive shouting. So there are redeeming factors involved when coming to a conclusion regarding a rating for "All Is Left to See". I can safely say I was more content with "Rural (2011)" and that I find "All Is Left to See" too fragmented and lacking direction, but on the other hand, it's obvious that Moloken are on to something great. It's just the way they've opted to present it this time around which doesn't work that well. So a 3 - 3.5 star (65%) rating is still deserved.

 Revisionist by SANNHET album cover Studio Album, 2015
4.11 | 7 ratings

BUY
Revisionist
Sannhet Experimental/Post Metal

Review by Insin

3 stars The second album by Brooklyn-based trio Sannhet sees them continuing to explore the niche of instrumental post-metal they had already found for themselves on their first full-length release. Revisionist secures Sannhet's promising sound, but exposes their weak songwriting.

With hints of both black and sludge metal, Sannhet's music is dense and fearful, a mood that they balance with a brighter, more accessible brand of post-metal that is the album's secondary sound, often switching effortlessly between the two styles within the same song, or finding a midpoint between them. The darker parts tend to lapse into blast beats, the guitar whining uneasily as the bass creates a murky backdrop. It lets up into flowing post-metal territory with a clean guitar forging the path ahead. Revisionist changes very easily and frequently from oppressively apprehensive, to lamenting and miserable, to the rare uplifting section.

While this variation in mood is a good premise on which the band has based their music, unfortunately, there isn't really any other appeal to Revisionist, not to mention it suffers from the flaw of dozens of other post-rock and post-metal bands ? it does not necessarily jump out at the listener, hard to notice unless one focuses on it. Like most post-metal, it has its ebb and flow, but whatever evolution that exists is subtle and restrained as it relies primarily on its atmosphere to carry it through, something that is not quite enough, while disregarding songwriting. The short lengths of these tracks betray that there is not enough time for much to happen, that they do not have the momentum to build up to a peak or even have the dynamics necessary for good post-metal, or a good song in general. On top of that, all of the pieces sound more or less the same, dragging out the experience towards the end, and none are particularly memorable. I've listened to this album at least five times and I cannot keep a single song in my head, even right after one has just ended.

Revisionist is not unpleasant but not particularly good, either. Sannhet has an interesting foundation for their sound but they aren't reaching their full potential. The atmosphere created by their fearful density coupled with the lighter post-metal has a lot of promise, but the songwriting of Revisionist is mediocre and unexciting. Nevertheless this is an album that makes me look forward to Sannhet's next output; they might be able to do great things in the future.

 111 111 111 x 111 111 111 by SENMUTH album cover Studio Album, 2013
4.00 | 1 ratings

BUY
111 111 111 x 111 111 111
Senmuth Experimental/Post Metal

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

— First review of this album —
4 stars I don't know if Senmuth has been disappointed by the missed "end of the world". He closed the 2012 with the good EP End[?]Correlation which was inspired to the Maya prophecy, then he opened 2013 with this album which doesn't fit in any of his ethnic-geographic-histprical subgenres (look at the right side of his homepage). The album title is a multiplication which simply returns 12345678987654321. No reference to any disappeared ancient civilisation or myths.

Only Apparently. Translating the track titles we can see a "design".

The album is opened by "Act:Creation", an unusual kind of track for Senmuth. It's quite melodic and not too dark. It's promising, but when the sitar introduces "Sleepless Dreams" we are in a strange suspended world. A heavy bass backed by his distorted 7-strings guitar repeats itself in a hypnotic way, like it often happens in Krautrock. The difference is in the sitar sound which leads the track. It's quite a stoner.

The good surprise comes with the 3rd track, "Mythological Anomalies". Here the repetitive bass and theindo- arabian melody played by the guitar are unexpectedly Floydian. It reminds immediately to the atmospheres of Set The Controls For The Heart of the Sun. It would fit easily in the psychedelic/space-rock subgenre, more than in metal. I think it's one of the best things I have ever heard from Senmuth.

"Constellation Lonely Snake" is inspired to India. I think it's the snake of the title. Another hypnotic track on the borders of psychedelia. Some sounds can also remind to Vangelis, anyway this is another very good track.

"Archaic Sound" is opened by an acoustic guitar backed by keys mimic of a pan flute. It doesn't sound like Senmuth. Very unusual, it has an Eastern Europe feel which reminds again to some Vangelis, just to give an idea. The melody is played by what sounds like a bouzuki. I think I've never heard so many major chords in a Senmuth's track.

Then comes the metal at least in the sound: "Doubts in its Infancy" gives finally room to the distorted guitar which takes the role of the bass. The rhythm is still lazy but the sounds are heavy. When the bass enters it turns again into a sort of psychedelic rock. I wouldn't recognize Senmuth if it wasn't for the indian kind of percussion. This is the longest track of the album and it's another stoner. I would have avoided the piano interlude in the middle because it destroys the atmosphere previously created, but it's just a change in the sounds, with the guitar taking the lead, then it returns to the main theme.

"The Background Process(Evolution)" is the first album track perfectly in line with the usual Senmuth. Unusual guitar passages which seem to be randomic which are replaced by a ethnic section. It's a dark track, still hypnotic. Not bad but not a highlight.

"Spatial Vision" is totally different. Is opened by drums and a keyboard which is between Vangelis and Tangerine Dream. It changes mood quickly, turning into a dark instrumental. I would have apprecieated more if it had followed the initial path, however it's another "good enough" track. It's good that all the tracks have a lazy rhythm. It gives consistency to the album.

The closer is "Prejudice To Oblivion". Heavier in sounds, it returns to the initial mood: heavy repetitive bass and oriental melodies. When it relaxes only bass, tablas and keys remain. Again I can call it a psychedelic track, a good closer for this instrumental album. A stoner track of about 10 minutes which includes the usual ethnic elements but keeping them very well immerged into its can of heavy sounds.

A pleasant surprise for who likes to be hypnotized by music.

Data cached

Experimental/Post Metal bands/artists list

Bands/Artists Country
11 AS IN ADVERSARIES France
19 A.D.D. United States
21 EYES OF RUBY Netherlands
THE 3RD AND THE MORTAL Norway
413 United States
5IVE United States
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
AMBEON Netherlands
AMENRA Belgium
AMESOEURS France
AMIA VENERA LANDSCAPE Italy
ANATHEMA United Kingdom
ANCESTORS United States
AND HARMONY DIES Italy
ANGEL EYES United States
ANTIGUA Y BARBUDA Spain
ANTIMATTER Multi-National
ANUBI Lithuania
APOCALIPSIS Mexico
APOCRYPHAL VOICE Finland
APOKATASTASIA Switzerland
APSE United States
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
THE ATOMIC BOMB AUDITION United States
ATROX Norway
AUSSITT MORT France
THE AXIS OF PERDITION United Kingdom
AZIOLA CRY United States
BACK WHEN United States
BAK Australia
BARONESS United States
BAT CASTLE United States
BATTLE OF MICE United States
BATTLEFIELDS United States
BAUDA Chile
BEAK United States
BEECHER United Kingdom
BEFORE THE EYEWALL United States
BEHIND THE SUN Israel
BEING United States
ADRIAN BENAVIDES United States
BIRUSHANAH Japan
BISON B.C. Canada
BLACK MATH HORSEMAN United States
BLACK SEA Brazil
BLACK SHEEP WALL United States
BLACKWAVES Germany
BLINDEAD Poland
BLOOD & TIME United States
BLUT AUS NORD France
BOBEL Costa Rica
BOSSK United Kingdom
BOTANIST United States
BRIDGES TO DREAMS Canada
BUNKUR Netherlands
BURIED INSIDE Canada
BURN DOWN ROME United Kingdom
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
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
DDSVERK Norway
DORNENREICH Austria
DOTZAUER Italy
DR. SLAGGLEBERRY United Kingdom
DRAWN Norway
DREARINESS Italy
DYING SUN United States
EARTH United States
EAST OF THE WALL United States
EBONY LAKE United Kingdom
ECHOES 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
EXOTIC ANIMAL PETTING ZOO United States
EXTINCTION ALGORITHM Romania
FALL OF EFRAFA United Kingdom
FALLOCH United Kingdom
FALLS OF RAUROS United States
FEN United Kingdom
FLEURETY Norway
FLOOD THE DESERT United States
FOLLOW THE WHITE RABBIT Russia
A FOREST OF STARS United Kingdom
FORMLOFF Norway
FOUNTAINHEAD Germany
FROM OCEANS TO AUTUMN United States
FUTURIAN Canada
THE GABRIEL CONSTRUCT United States
GANON United States
GARDEN OF SHADOWS United States
GARY SUICIDAL KIDS COMMANDO France
THE GATHERING Netherlands
GENERATION OF VIPERS United States
GENGHIS TRON United States
GIANT SQUID United States
GIGANTIC BRAIN United States
GIRE Hungary
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
HELLAS MOUNDS United States
HERETOIR Germany
HIPOSPADIA Spain
HUMANFLY United Kingdom
HYDRA Mexico
HYPNO5E France
IDENTIFIED United States
IDIOT SAINT CRAZY France
THE ILLNESS United States
IN THE WOODS... Norway
IN.OVO Canada
INCOMING CEREBRAL OVERDRIVE Italy
INDUKTI Poland
INTER ARMA United States
INTRONAUT United States
IO United Kingdom
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
KHEMEA 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
LBO Portugal
LOOK TO WINDWARD New Zealand
LORUS United States
LOTUS THIEF United States
LUDICRA United States
LYE BY MISTAKE United States
MADE OUT OF BABIES United States
MAHESH Chile
MAMMOTH New Zealand
MANATEES United Kingdom
MANDIBULBE France
MANES Norway
MANUSCRIPTS DON'T BURN Italy
MAR DE GRISES Chile
MARE United States
THE MASS United States
THE MATTERHORN PROJECT United States
MAUDLIN Belgium
MAUDLIN OF THE WELL United States
MEMORIES OF A DEAD MAN France
MENISCUS Australia
MINDFOLD EXPRESS Bulgaria
MINSK United States
MIOSIS Sweden
THE MIRE United Kingdom
MIRRORTHRONE Switzerland
MISANTHROFEEL Russia
MOD FLANDERS CONSPIRACY United States
MOLOKEN Sweden
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 MOBIUS Multi-National
MYSTIC Netherlands
NAHEMAH Spain
NAHRAYAN Spain
NANDA DEVI United States
NATIONAL SUNDAY LAW United States
NAUTICUS Finland
NEBRA Switzerland
NERO DI MARTE Italy
NEUMA Poland
NEUROSIS United States
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
ORANSSI PAZUZU Finland
ORDO DRACONIS Netherlands
RKENKJTT Norway
ORPHANED LAND Israel
ORTHODOX Spain
OSI United States
OSTROVA Spain
THE OTHER SIDE OF THE SKY United States
OUTOPSYA Italy
OVERMARS France
XX XX 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
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
SHELS United States
SHELTER RED United States
SHELVING Switzerland
SHEPHERDS OF CASSINI New Zealand
SHRINEBUILDER United States
SIGH Japan
SIKA REDEM United Kingdom
SISARE Finland
SKAGOS Canada
SKEWED SKIES Germany
SLEEP MAPS United States
SLEEPING IN GETHSEMANE United States
SMALLMAN Bulgaria
SMOHALLA France
SNOWBLOOD United Kingdom
SO IS THE TONGUE United States
SOEN Multi-National
SOLSTAFIR Iceland
SONS OF ALPHA CENTAURI United Kingdom
SPRING & YOUTH Serbia
STANDING OVATION Finland
STATS United States
STEAK NUMBER EIGHT Belgium
A STORM OF LIGHT United States
SUBROSA United States
SUBTERRANEAN MASQUERADE 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
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
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 — the ultimate jazz music virtual community | MetalMusicArchives.com — the ultimate metal music virtual community


Server processing time: 0.23 seconds