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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 | 1397 ratings
LATERALUS
Tool
4.22 | 665 ratings
PART THE SECOND
Maudlin Of The Well
4.33 | 124 ratings
IMAGINARY SONICSCAPE
Sigh
4.26 | 174 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.18 | 609 ratings
TERRIA
Townsend, Devin
4.19 | 309 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.16 | 655 ratings
JUDGEMENT
Anathema
4.15 | 548 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.17 | 285 ratings
BATH
Maudlin Of The Well
4.16 | 258 ratings
IN A FLESH AQUARIUM
Unexpect
4.14 | 311 ratings
FABLES OF THE SLEEPLESS EMPIRE
Unexpect
4.13 | 354 ratings
THE MANTLE
Agalloch
4.19 | 140 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult Of Luna
4.46 | 40 ratings
FEA JUR
Lye By Mistake
4.13 | 317 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.40 | 45 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.08 | 830 ratings
∆NIMA
Tool
4.11 | 244 ratings
PANOPTICON
Isis
4.16 | 111 ratings
THE PAINTER'S PALETTE
Ephel Duath
4.14 | 121 ratings
SOL NIGER WITHIN
Thordendal's Special Defects, Fredrik

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

THE SECOND PHILOSOPHY
Nahemah
SHEDDING
Apokatastasia
POWER H÷R
Lesbian
GORDIAN KNOT
Gordian Knot

Latest Experimental/Post Metal Music Reviews


 Wavering Radiant by ISIS album cover Studio Album, 2009
4.02 | 195 ratings

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Wavering Radiant
Isis Experimental/Post Metal

Review by TCat
Prog Reviewer

4 stars Isis to me is one of those strange anomalies. I typically don't like the growly vocals that are usually present in sludge metal or post metal bands. I can tolerate them when they are melodic in their growling, as with 'Baroness' or 'Agalloch', but Isis' lead singer's dirty vocals are not melodic at all. Yes he does sing clean vocals, but not very often. The thing with Isis is their music is excellent and their songs so well composed and complex, so I hardly even notice them unless I really think about it. Even though many consider this their most accessible album, the growling is still very dominant. The one difference is, the focus is more on melodic tracks, so I guess that makes it more accessible.

Anyway, I cannot explain why I love this band so much. It has to be because they are better than the norm. The sad thing is, it was a year after the release of this album that the band would break up. This would be their last full album. But, at least they went out heading in the right direction.

A lot of people tend to compare this album to Tool, but, except for the track 'Threshold of Transformation', I don't get that comparison. It might be in the complex structure of the songs, but Tool doesn't own the market on that writing style, because other bands like 'Opeth' and 'Agalloch' do the same thing, and quite truthfully, Gabriel's Genesis (and some of the early Collins' Genesis) mastered the use of complexity in the lyrical sections of their music, refusing to follow the verse/chorus structure used in so much rock and pop music. So that's really nothing new. Tool doesn't have growly vocals of course, but that is the most minor of the non-comparisons. Isis in this album utilize more keyboards than Tool, and tend to experiment more in the use of keyboards in a metal band along with more unique atmospherics. Isis also utilizes the heavy post metal structures that Tool doesn't. Don't get me wrong, I love Tool as much as any other Tool fan, but I just think the comparison is unfounded. The music really compares more to Agalloch than Tool.

This album does use the haunting clean haunting vocals much better than previously. I would be more of a fan if Aaron used less of the growls, even on this album. The musicianship and composition of the songs is top notch though, and that pretty much cancels out the annoying vocals, almost. The songs are still dark and heavy though, with more atmospherics than before, they are also still very complex song structures. Even with the loudness, there are plenty of places that allow the music to breath. And then there is the beautiful interludes that continue through 'Ghost Key' that contrast to the loud sections in the same song that I find intriguing and wonderful. Both 'Hand of the Host' and 'Hall of the Dead' bookend 'Ghost Key' and the placement is perfect as they have plenty of loud, heavy passages and complexities that even bring out the haunting melodies of 'Ghost Key' even more.

'Stone to Wake a Serpent' has more of a psychedelic feel to it with its interesting guitar sounds in the quieter passages. The addition of the organ playing alongside the guitar riff towards the middle is a nice touch giving the song that retro 'Uriah Heep' vibe. With its share of loud and quiet alternating sections, it is overall a more pensive tune. The screeching of the guitar is also an interesting contrast. Also, as I mentioned earlier, 'Threshold of Transformation' has that Tool sound to it with the thumping, complex bass line. Isis uses an organ to support that bass making it seem more unique. Except for the Japanese release, this is the last track on the album, and possibly, ending with a 'Tool-like' track, maybe that is why the comparison is made, but one track doesn't make an album, and the track is still good anyway, because in the last half, it veers away from that sound to a heavier and brighter guitar solo. If you are lucky enough to have the Japanese version, you will be treated to one more track 'Way Through Woven Branches', which is another great track with a great beginning guitar riff and like the other songs, is a great study in extremes.

The band wanted to make the album one that had more balance to it, and I think they succeeded in this. The album seems to be more progressive than ever, with a lot more dynamics and melodic touches. Each track has plenty of room to develop because, with the exception of one short track that serves as a bridge, tracks stay in the range of 6 to 11 minutes each. It is a shame that this would be their last album as I feel they were heading for something even bigger, but they had a good run and provided us with some of the best Post Metal out there. I could almost give this a 5 star rating, but the dirty vocals keep it from being perfect. But I must say, it is close.

 We are the Bible 7'' by ANATHEMA album cover Singles/EPs/Fan Club/Promo, 1994
2.20 | 16 ratings

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We are the Bible 7''
Anathema Experimental/Post Metal

Review by TCat
Prog Reviewer

2 stars This is a very rare single that was originally only made available to subscribers of the Collectors Club. It was recorded in 1994 in the early doom metal days of Anathema, back when they sounded nothing like they do now. Both tracks are improvised songs recorded in studio, which is a rarity in the doom metal genre, so this shows Anathema's willingness to go above the norm, even in their early days, if nothing else.

'Nailed to the Cross/666' is the A Side. It starts as a slow drum pounds a rhythm and atmospheric guitars wail out feedback. The vocals are dirty of course, as they were in the early days. The tempo soon speeds up some while the vocalist chants out 666 in a gruff voice against a repetitive riff. Guitars take over and then drag the song to it's close.

'Eternal Rise of the Sun' starts with a slow guitar which soon gets layered with another guitar and a progressive pounding rhythm. The percussion levels out finally to a slow processional beat. The vocals are deep but spoken this time, so at least they can be understood. There is an attempt to sing, but it's not great singing and you wish he soon goes back to spoken vocals, which he does. The beat and bass follow a repetitive pattern, but there is a higher guitar that plays a more improvised part. The beat stops at 4 minutes, and then returns picking up speed while the other instruments follow suit, but following a same pattern. Suddenly an acoustic guitar starts playing on top of all of this, interestingly enough.

These 2 tracks are really surprisingly good and you can tell this is a band that is willing to try new things. Of course, their sound would change over the years. The Cavanaugh Brothers would, for the most part, be consistent members of the band throughout, but others members would change according to the style of music they were working to play at the time. It is often hard to believe this is the same band that would release the amazingly emotional post metal albums 'Weather Systems' and 'A Natural Disaster', but this short single is a sign that the band was looking to perfect their sound. Even with that, however, this single is more of a curiosity for fans than anything else, as the music, while surprising, isn't really that amazing. For collectors and fans only.

 Departure Songs by WE LOST THE SEA album cover Studio Album, 2015
4.37 | 13 ratings

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Departure Songs
We Lost the Sea Experimental/Post Metal

Review by Mellotron Storm
Prog Reviewer

4 stars 4.5 stars. WE LOST THE SEA are a Australian band and this is studio album number three. The first two featured an extreme vocalist with a heavier sound. Sadly the singer took his own life and this particular recording has no vocals and is pure Post-Rock. And what a Post-Rock album it is! A six piece band with three guitarists, bass, keyboards and drums. Some guest cello on three tracks and guest trumpet on two songs. The interesting thing about this record is that it is a concept album about people who have given their lives in heroic ways. So four stories over five tracks all instrumental although we get lots of samples helping us with these incredible events in history. This album sounds amazing and is one I've had cranked all last week and this week too.

"A Gallant Gentleman" sounds so beautiful to start with that picked guitar that sort of echoes. Just gorgeous as other relaxed sounds join in before 3 minutes. Drums and a fuller sound after 3 minutes as it turns somewhat powerful. Vocal melodies as it settles back down before 5 minutes. Again just a beautiful sound here. Such a great way to open the album. "Bogatyri!" opens with relaxed guitar melodies then bass and a beat join in before 2 minutes. It starts to build slightly after 4minutes. This continues as the guitar starts to amp it up. Man this is good! It's fairly heavy late but no explosion of sound. Post-Rock styled guitars end it. Another fantastic track! "The Last Dive Of David Shaw" opens with faint water sounds and the obvious sounds of a scuba diver with that breathing. Distant spoken words here too then some atmosphere 2 minutes in along with static before picked guitar takes over before 2 1/2 minutes. Another guitar arrives and a light beat before 3 minutes. Mellow is the word but it starts to build as it turns louder before 4 1/2 minutes. Suddenly minute later it calms right down to silence only then pulses arrive just before 6 minutes along with atmosphere and guitar. It starts to turn fuller 8 minutes in. Then even louder at 9 1/2 minutes, quite powerful in fact before settling back down just before 14 minutes. Piano eventually takes over to end it.

"Challenger Part 1-Flight" is the almost 24 minute epic track on here. Opening with an interview with a man who discusses the relation of dreams to going to outer space. I like how when he finishes it up some 5 1/2 minutes in the atmosphere has turned increasingly louder to almost not hearing him. A calm follows with picked guitar. It kicks in just before 9 1/2 minutes. So good! A definite highlight for me and this continues until it settles back just before 12 minutes. The guitar is crying out at 12 1/2 minutes. It then calms right down before 14 1/2 minutes. Synth sounds follow then guitar before we get the audio for the countdown 16 1/2 minutes in. An intense determined sound here as the audio continues. Kicking butt here then it kicks in even harder after 18 minutes. It starts to wind down after 21 1/2 minutes as people express their disbelief at what has just happened. Lots of confusion as a lady says "They were here and now they're gone".

This blends into "Challenger Part 2-A Swan Song" as distant atmosphere continues as picked guitar arrives and starts to echo sadly. Strummed guitar and a beat join in after 3 minutes. It slowly starts to build until kicking in with power at 5 1/2 minutes. Great sound! It kicks in even harder around 6 1/2 minutes before settling back as we hear the speech from Ronald Reagan as he relates so wonderfully the story of Sir Francis Drake some 400 years earlier. Nice.

If not for length of "The last Dive Of David Shaw" I would be giving this 5 stars for sure. I found that track to have prolonged passages that could have easily been shortened making it much better to my ears. Just my opinion. Love this album though, one of my all time favourite Post-Rock records without a doubt.

 Falling Deeper by ANATHEMA album cover Studio Album, 2011
3.81 | 393 ratings

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Falling Deeper
Anathema Experimental/Post Metal

Review by Easy Livin
Special Collaborator Honorary Collaborator / Retired Admin

4 stars Deep and beautiful

Following the 2008 album "Hindsight", where Anathema revisited some of their more recent songs, and placing them in a softer, more acoustic setting, the band took the project a stage further in 2011. Falling deeper into their doom-laden past, this appropriately titled album brings a new found grace and beauty to some of their earliest material. While at the time of those recordings the band were known for their growled vocals and funereal sounds, it was always apparent that underlying it all was a collection of fine melodies and sensitive performances. "Falling deeper" finally allows those nuances to come to the fore as the band call upon Dave Stewart (of Egg) to add orchestral arrangements while they themselves seek to exploit the lyrical and musical themes that were often buried under the deluge of thumping and growling.

The eight songs included here (the album runs to under 40 minutes) originally appeared on albums and EPs such as "Crestfallen, "Serenades", "The Silent Enigma" and "Pentecost III". We open with the two part "Crestfallen / Sleep In Sanity" which is rather cut down from the original 10 minutes of "Crestfallen" (on the EP of that name) and 7 minutes of "Sleep in Sanity" (on "Serenades"). Instantly, we are presented with a piece of great beauty and harmonic perfection. Gone are the random growls and manically depressive lyrics, this interpretation relying solely on the underlying strength of the song. "Kingdom" was for me one of the more palatable songs on the "Pentecost III" EP. That album bore the first hints of the band's direction change, and it is those hints that are exploited here, with full orchestration.

"They die" previously appeared on the "Crestfallen" EP and also as "They (Will Always) Die" on "Serenades". As with most of the tracks here, it is pared back quite a bit, becoming much tighter and more focused in the process. "Everwake" was already the best track on "Crestfallen", but here it benefits further from the divine female vocals of Anneke Van Giersbergen, the heavier backing and superb orchestration once again resulting in an album highlight. "I made a promise" originally bore its French title "J'ai Fait Une Promesse", but here it loses its female vocal, becoming a soft instrumental.

"Alone" is one of the few songs to be in a longer from here than it was originally (on "Silent Enigma"). On that album, the symphonic overtones were already apparent. Here, the arrangement is actually a little more Spartan, the emphasis being more on the acoustic aspects. "We the gods" once again removes the vocals completely, along with about 6 minutes of the original song, leaving a delightful instrumental piece. "Sunset of age" is the closing track on my version of the album. It makes for a superb finale, with (dare I say) ELO style swirling strings and a heavy back-beat laying the foundations for a strong melody. Here, an excellent lead guitar solo adds a further welcome dimension.

"Falling deeper" sees the band going back to their early days for the basic songs, but then transforming them into pieces that would fit well into their current output. The symphonic orchestration brings out the full beauty of the melodies, resulting in an album that is every bit as good as the bands fine albums from their more recent past.

 _wE, Invaders by UNEXPECT album cover Singles/EPs/Fan Club/Promo, 2003
3.51 | 31 ratings

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_wE, Invaders
Unexpect Experimental/Post Metal

Review by TCat
Prog Reviewer

3 stars 'UneXpect' is one of those bands I discovered through this site and from reading reviews. I came into it expecting something similar to 'Sleepytime Gorilla Museum' which is a band I love. I figured an EP would be a good place to start especially after reading that this EP is a bridge between their more black metal sound to a more avant Prog metal sound.

There is a very high level of progressiveness to this music. There must be at least 3 lead singers here, a nice female voice, and regular male voice and a growly voice, singing in a rather chaotic way throughout, sometimes together, sometimes not. The music has that crazy chaotic feel of SGM, but with a bit more operatic feel and less structure. Just know that you can't expect to settle on any one style for long, because this metal is anything but typical and always changing even from one note to the next on occasion.

The music is difficult to penetrate because of its complexity and denseness. I don't care for the growling vocals on this one, but the Tech Metal aspects are great. The use of violin throughout is a big plus too. It makes me interested in listening to their later work, but as far as this EP is concerned, it is too reminiscent of black metal even with the level of progressive complexity. There are plenty of surprises hidden throughout like the piano lead in the middle of 'In Velvet Coffins' but things change so much that nothing has a chance to develop anywhere. This version of 'Chromatic Chimera' is step in the right direction, but it isn't really metal either as it is a nice piano interlude with some music box aspects towards the end, which just seems like it was tacked on to the end of the album for variety.

I definitely prefer the better development in SGM's music, even though there are some aspects that are similar. This is why I am interested in looking to their future works. The best track is the aforementioned 'In Velvet Coffins', but again, even in the complexities of Avant Prog music, which this does approach, you still need some development and some feeling of direction to appeal to me. Nevertheless, the musicianship is amazing, so this is a strong 3 star EP.

 Weather Systems by ANATHEMA album cover Studio Album, 2012
4.03 | 864 ratings

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Weather Systems
Anathema Experimental/Post Metal

Review by TCat
Prog Reviewer

5 stars 'Weather Systems' from Anathema is the ninth full-length album in their discography. The line-up is the same as the last album except for the absence of the keyboardist Les Smith. Keyboard duties are shared by other band members through this album. Where the previous album 'We're Here Because We're Here' (WHBWH) was produced by Steven Wilson and had a more symphonic feel to it. This one is produced by members of the band and, even though it has symphonic aspects to it, it seems to be less noticeable. However, it is an album that is a lot more moving and emotional than WHBWH and "Falling Away". Also, Lee Douglas has more lead vocals than she did in WHBWH, where she did more support and harmony singing.

Immediately, this album starts off sounding a lot different from the last one, with an upbeat track, the first part of 'Untouchables' being driven by an acoustic guitar playing a quick arppegiated chord pattern. Vocals start up quickly and this song gets more and more exciting and intense as volume builds to a somewhat heavy and driving song. The 2nd part starts off much slower with a piano riff and a more emotional vocal. After the first verse, it gets a little more symphonic as Lee Douglas takes over vocals on the 2nd verse. Her voice is a welcome change as a regular in the band since the previous album. Harmonies as both singers join together. This has a nice build in intensity even if it stays at a slower rhythm.

'The Gathering of Clouds' starts with the sounds of thunder and strings. It has a dramatic feel to it with a rumbling guitar and some interesting, contrasting vocals singing different lyrics. It flows into the next track 'The Lightening Song', which is headed by Douglas' voice. This one continues the same feeling until about the 3 minute mark where it explodes into a crashing and emotional climax.

Up to this point, the male lead vocals have been from Vincent Cavanaugh, but the next track 'Sunlight' is sung by Daniel Cavanaugh. His vocals are softer than his brother's, but that fits the mellow feeling of the song. This one, however, has a build somewhat similar to a Post Rock song, especially when it comes to chiming and repeating guitar chords in the heavy climax.

'The Storm Before the Calm' is the longest track on this album at over 9 minutes. This is the only track not written by Vincent as it is actually written by the band's drummer John Douglas. This one has a darker feel with a great intensity that builds in the verses and releases in the dramatic choruses. The feeling is more metallic and harsh, especially during the instrumental sections. There is a sudden release around 5 minutes and things get calm, as noted in the title. There is a build and vocals start again once again building in intensity. This track is very cinematic and emotional, and also an amazing progressive song.

'The Beginning and the End' is more driven by lyrics and piano. It is a mid tempo song that would work great as a single. Great, emotional vocals with another great build up in intensity and an impressive guitar solo before the ending. 'The Lost Child' has the Cavanaugh brothers sharing vocal leads. It starts out ambient with an echoing wordless vocal later joined by strings. A nice piano interlude begins and vocals eventually start. The harmonies evoke a dark feeling using minor 4th key counterpoint (known as the evil interval). As it builds in volume and intensity, the harmonies break out of this interval and become very emotional. Another beautiful piano-led interlude finishes the track off.

The last track is another one that approaches the 9 minute mark. 'Internal Landscapes' starts off with a spoken word section done by a guest artist speaking of a near-death experience. When the singing starts, it's Lee and Vincent sharing lead vocals, singing softly with a pensive feel. It gets more intense about 4 minutes in.

One thing apparent about this album is the amount of emotion but into the vocals where on the previous album, the feeling was more morose. This one is a brighter feel throughout, though most of the tracks are slow at first with a building intensity. This album has some very beautiful tracks, well done and well produced. The album has all the great traits of the last album, but with a more heartfelt attitude. Even after hearing it several times, I put it up there with the bands best, and it easily earns a place among the best progressive albums.

 Ecate by UFOMAMMUT album cover Studio Album, 2015
3.88 | 6 ratings

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Ecate
Ufomammut Experimental/Post Metal

Review by DamoXt7942
Forum & Site Admin Group Avant, Crossover & Neo Teams

4 stars Forgive me for mentioning my personal issue but I've done a wine tasting / winery tour in North Italy a while before. A lot of bottles of Italian wine are quite favourable and acceptable, especially Piemonte red wine produced in the wet, foggy air (Nebbia in Italian) is one of my faves really. Anyway, we experimental rock fans cannot avoid such a world- class Italian Experimental / Post-Metal combo UFOMAMMUT hailing from Tortona (Piemonte) who play as if they were veiled in deep "Nebbia". "Ecate" has been released as their seventh full-length album flooded with powerful, aggressive, and violent sound exudation. On the contrary, I'm afraid if it's only me who can feel friendly to their soundscape, as Italian sense of humour. (Any opinions?)

Their foggy, fuzzy, and sludge-y metal sound is compiled in the first track "Somnium". Electronic infernal confusion, heavy and deep downtempo abyss, smell of danger arising beneath the sun ... no delightful impression you cannot grab out via the whole track. But for me, sounds like they drive us into sorta pleasant madness. Repetitive riffs of muddy water and bombastic shoegaze tastes of melody, both are their perfect method to knock us down completely, like sweet but addictive flavour of Piemonte wine. ON the other hand, we can more easily accept the following song "Plouton" as a straight, strict hardcore post metal one. Plus, another sound strategy of theirs can be heard in "Revelation" where we can touch more hallucinogenic atmosphere just like electro-filled Krautrock.

Please let me say "Temple" should be one of the most offensive but simultaneously depressive tracks. Explosive melodic grandeur is broken and fixed again and again, like our whole real life. Sounds like they might say "it would be quite tough to live full of darkness but mind you, something would happen anytime anywhere" ... at least for me. This mysterious texture can be felt in the last track "Daemons". In the former part more uptempo earachy clusters of tone must break our inner heart in pieces but the last scene is incredibly beautiful enough to give permission for us to make it again. Such a delight could be called as Italian taste of honey I imagine? Quite mystic obvious to encourage us vigorously.

 We're Here Because We're Here by ANATHEMA album cover Studio Album, 2010
4.05 | 856 ratings

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We're Here Because We're Here
Anathema Experimental/Post Metal

Review by TCat
Prog Reviewer

4 stars So, with this album, we are up to Anathema's 8th full album release. They have come a long way from their black metal beginnings. This album is many times more positive and less morose than their previous releases, which tended to be quite dark, even if when they had separated from the heavy sound they started with. The songs now are much mellower, yet they are replete with emotion and passion.

The 3 Cavanaugh brothers are still present, as they have been most of the time through the band's history. Vincent and Daniel still share vocal duties, but they have added another vocalist in Lee Douglas as a full time member of the band. This is the main reason for the brighter feel of this album, but she is an excellent vocalist, so all is good. You will notice her providing harmony in most of the tracks, and with her past guest vocalist duties with the band, it only seems natural to hear her singing as a regular band member.

This album is so well orchestrated and produced. Steven Wilson, of course had a hand in mixing the album, which explains the clarity of every instrument and sound. Interestingly enough, the album does not take on the sound of a Wilson project so much, because of it's positive feel, where most of Wilson's projects tend to be dark. The feel of the tracks is expansive and full, with many places being almost orchestra-like. The keyboards stand out a lot more in the tracks, but don't worry, there are plenty of places where the guitars kick in making the impact of many of the tracks even that much more solid.

Now, with all of this amazing musicianship, there are weaknesses here that weren't as apparent in the previous album, and that is a tendency to get too poppy sounding towards the middle of the album. In addition to this, 'Presence' is an annoying spoken word track with organ supplying back up. Fortunately it is a short track.

Things do get better again after the weak middle however. You know everything is back on track when 'A Simple Mistake' starts playing, and there is a collective sigh of relief. So tracks 4, 5, and 6 might be weaker, they aren't so bad to ruin the album. 'A Simple Mistake' has the feel of one of Pink Floyd's better tracks with a guitar solo that is not only awesome, but very progressive too. And the amazing songs continue after this on through the final track. It's almost as if the band is closer to Symphonic Prog than it is Post Metal.

There is so much to love about this album, and I have always loved Anathema when they are at their most expressive, which happens many times in this album. The weak middle part of the album does bring it down a notch, but for top quality, emotional and passionate music, the rest of the album should not be missed simply because of that. Unfortunately, it takes away from what could have been a 5 star album. When it's at its best, this is still high quality emotional prog.

 Australasia by PELICAN album cover Studio Album, 2003
3.67 | 62 ratings

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Australasia
Pelican Experimental/Post Metal

Review by TCat
Prog Reviewer

3 stars Pelican is a Post Metal band in every sense of the word. Their music has that post rock feeling, but it is also very heavy and dense. Black metal lovers that want to check out Post Metal and/or Post Rock should listen to this band. I know many people that love black metal and that are very impressed with Pelican. The band is made up simply of two lead guitars, a bass and drums. This lineup gives a certain prehistoric feel to the music.

This album is their debut full album. When recording was going on for the album, there were some issues with the studio being under construction, so there were some problems with equipment and so on. There were also huge budget restraints, so the band felt the sessions were rushed. However, many critics have given praise to the album nevertheless. The album is completely instrumental.

The album starts out with an 11 minute monstrosity of a track called Nightendday, one that establishes the bands sound after a short, quiet introduction. When the band kicks in, you instantly get the thickness and denseness of the sound. Welcome to the sound of Pelican. There is a bit of melodic sense to the bands music even considering the heaviness. But other than a few short moments of reprieve, the music stays heavy. There are varying meter changes and thematic variety through the track to keep things interesting. The center of the track does break down for a while in order to build up through an extended crescendo, thus utilizing the typical post rock formula. But just as it reaches it's peak, it ends.

'Drought' comes next and starts out where the last track left off with hardly a space to tell where one end and the other starts. There is an obvious repeating riff that forms the basis of the track and metallic guitars play over the churning riff. Tempo increases and slows on an alternating basis. Finally after the 6 minute mark, there is some variation in the riff and things are a little more interesting here, but the track only goes for a few more minutes, so it's a little too late. Not much changes here like it did in the first track. There is a complete lack of dynamics in this song.

'Angel Tears' is another 11 minute track. It is a slower and plodding rhythm. The themes are too repetitive for the first 4 minutes and really not that interesting. There is more of a variation after this, but the tempo remains the same, so it's hard to catch that variation. At 6 minutes, tempo speeds up a bit, but you still get that churning repetitiveness. There just isn't anything to hold my interest in this long track.

'GW' is a short 3 minute track that you expect to lighten up a bit, but it's not, it's just more of the same in a short dose.

'Untitled' is also a shorter track at over 5 minutes, and it is actually the reprieve you expect since it is much softer, but still has that dark sound. It's more of an acoustic sound. Soon a high warbling sound is added, almost sounds like a saw or something. There are plenty of layers here, but they are softer, and this is a nice change of pace.

'Australasia' returns us to the hard and heavy epics approaching 11 minutes. This one is more like the first track, thank goodness. It's not so repetitive and it uses dynamics and tempo changes quite effectively, to keep things from getting too stale.

It's the first and last track, with help from 'Untitled' that save the album from falling into the 'same-ness' trap that so many bands of the genre tend to fall into. Is it enough to make me want to listen to more of their material? Well, yes it is, but it isn't high on my priorities however. There is good solid material here, but there is a lot of material that doesn't hold my interest too. So I would have to go with a 3 star rating on this, but they do generate enough interest to make you want to explore their music some more. If you like your Post Rock hard, heavy and dense, then this one could interest you. But I will remind you that it is quite repetitive in some places and some tracks, even though they are long, don't seem to develop very much.

 Fluo Dead Boy by IDIOT SAINT CRAZY album cover Studio Album, 2006
4.09 | 4 ratings

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Fluo Dead Boy
Idiot Saint Crazy Experimental/Post Metal

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

4 stars When an artist is tagged as being recommended for fans of Mr Bungle, Secret Chiefs 3, Estradasphere, Buckethead or Primus then you got my attention. And such is the case for IDIOT SAINT CRAZY which is the solo project of Valentin Carrette who is the front man for the French avant-prog meets zeuhl project called Yolk. FLUO DEAD BOY is his debut album under the IDIOT SAINT CRAZY moniker and like the influences aforementioned, contains a bizarre and creative new mix of diverse elements that offer a totally new insight into a corner of the musical universe you never knew existed. Ah, i love the avant-garde! A term that tells you nothing about what the music is, but rather tells you what it is not and that would be an established pattern of compositional construct.

What can i say about this one? Well, weird! But not so weird you can take it in. Valentin Carette is a guitar virtuoso of sort. Not the flashy technical Steve Vai sort but rather a more elusive beast much more like a constructor of new musical paradigms and atmospheres in the way Fred Frith did in Henry Cow and his avant-prog influences carry through on this solo project as well. While i wouldn't call IDIOT SAINT CRAZY metal per se, it contains many metal aspects much like bands like Secret Chiefs 3 do such as heavy guitar riffing, frenetic energetic tempos and extreme distortion. While some tracks are purely atmospheric, some like "The Street" use the heaviest elements of metal and wrap them around some sort of gypsy or Klezmer folk riff with cartoonish sound effects and some sort of primal tribal chanting.

FLUO DEAD BOY, a title that is as nebulous and strange as the music it contains is a very consistent album that takes the pulsating flow of Krautrock laced with electronic atmospheric sound effects and then inserts a rather cartoonish Klezmer folk riffing as the main musical scaffolding however instead of using traditional folk patterns of delivery, the music is sort of teased out into an extended post-metal sort of creeping crescendo. It sounds even weirder when Carette includes instruments like the banjo, theremin, xylophone and many others i can't easily identify. This album obviously utilizes the many possibilities of a synthesizer as it was completely recorded in a bedroom with an SM57 digital multi-effect system on a laptop in 2006. Add to that a little Link Ray rockabilly, surf rock and screechy classical violin.

FLUO DEAD BOY is quite the brilliant slice of creative output. While there is a consistent flow throughout the entire release, the tracks vary substantially. Laced with seductive post-rock elements that lull one into Krautrock soundscapes that evolve into tribal polyrhythms, horn fueled proggy counterpoints and bouts with extreme contradictory elements signing a truce for the sake of a good instrumental, this album is quite mature in how it's laid out, constructed and executed. While mostly instrumental, there are a few moments where vocals are used sort of as a percussive chanted effect. The electronic parts when used are very strange and decidedly brilliant and some are purely ethereal. While i would also cite the IDIOT SAINT CRAZY sound's closest musical relative as Secret Chiefs 3 or Mr Bungle, this is by no means a clone and could never be mistaken for any other act. If you want some cool experimental rock with metal elements on board, this is highly recommended.

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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
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
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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
IGORRR France
THE ILLNESS United States
IN THE WOODS... Norway
IN.OVO Canada
INCOMING CEREBRAL OVERDRIVE Italy
INDUKTI Poland
INTER ARMA United States
INTRONAUT United States
IO United Kingdom
ION United States
IREPRESS United States
IRONWOOD Australia
IRREVERSIBLE United States
ISIS United States
ISTHMUS United States
IZAH Netherlands
JAKEL Canada
JANVS Italy
JESU United Kingdom
JEWY SABATAY Serbia
OLIVER KAAH Finland
KAILASH Italy
KALKI AVATARA Italy
KARABOUDJAN Sweden
KEELHAUL United States
KEKAL Indonesia
KHANATE United States
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
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LEFT BRAIN United States
LENTO Italy
LESBIAN United States
LIGHT BEARER United Kingdom
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L÷BO Portugal
LOOK TO WINDWARD New Zealand
LORUS United States
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LUDICRA United States
LYE BY MISTAKE United States
MADŃRFOGŃS Hungary
MADE OUT OF BABIES United States
MAHESH Chile
MAMMOTH New Zealand
MANATEES United Kingdom
MANDIBULBE France
MANES Norway
MANUSCRIPTS DON'T BURN Italy
MAR DE GRISES Chile
MARE United States
THE MASS United States
THE MATTERHORN PROJECT United States
MAUDLIN Belgium
MAUDLIN OF THE WELL United States
MEANDERING MINE Germany
MEMORIES OF A DEAD MAN France
MENISCUS Australia
MINDFOLD EXPRESS Bulgaria
MINSK United States
MIOSIS Sweden
THE MIRE United Kingdom
MIRRORTHRONE Switzerland
MISANTHROFEEL Russia
MOANAA Poland
MOD FLANDERS CONSPIRACY United States
MOLOKEN Sweden
MOMENTUM Iceland
MONDRIAN OAK Italy
MONUMENTUM Italy
MORAINES Croatia
MORNE United States
THE MORNINGSIDE Russia
MORTIFERIA Norway
MOSE GIGANTICUS United States
MOSKAU Germany
MOUNTAINS BECAME MACHINES United Kingdom
MOUTH OF THE ARCHITECT United States
MUTYUMU Japan
MY SILENT WAKE United Kingdom
MYSTER M÷BIUS Multi-National
MYSTIC Netherlands
NAHEMAH Spain
NAHRAYAN Spain
NANDA DEVI United States
NATIONAL SUNDAY LAW United States
NAUTICUS Finland
NAUTILUS Norway
NEBRA Switzerland
NERO DI MARTE Italy
NEUMA Poland
NEUROSIS United States
NEVBORN Switzerland
NIGHT VERSES United States
NIHIL Serbia
NINTH MOON BLACK United States
NO HOME FOR HEROES Australia
NO MADE SENSE United Kingdom
NOCTIS Australia
NOEKK Germany
NOORVIK Germany
NORTH United States
NOVEMBRE Italy
NUCLEUS TORN Switzerland
OBSIDIAN KINGDOM Spain
THE OCEAN DOESN'T WANT ME South Africa
THE OCEAN Germany
OCOAI United States
OHGOD! South Africa
THE OLD DEAD TREE France
OLD MAN GLOOM United States
OMB Israel
THE OMEGA EXPERIMENT United States
OMEGA MASSIF Germany
÷OOOOOOOOOO France
ORANSSI PAZUZU Finland
ORDO DRACONIS Netherlands
ōRKENKJōTT Norway
ORPHANED LAND Israel
ORTHODOX Spain
OSI United States
OSTROVA Spain
THE OTHER SIDE OF THE SKY United States
OUTOPSYA Italy
OUTRUN THE SUNLIGHT United States
OVERMARS France
÷XX÷ X÷÷X France
PAN.THY.MONIUM Sweden
PANOPTICON United States
THE PAX CECILIA United States
PECCATUM Norway
PELICAN United States
PET SLIMMERS OF THE YEAR United Kingdom
PIKE Sweden
PINKLY SMOOTH United States
THE POSTMAN SYNDROME United States
PRISMA Switzerland
PROGHMA-C Poland
THE PROPHECY United Kingdom
PRYAPISME France
PSYCHOFAGIST Italy
PSYKUP France
PYRAMIDS United States
QUALEACEANS United Kingdom
QUARANTADUE Italy
QUBE Poland
QUESTIONER United States
RADAR Finland
RADIATION 4 United States
RAIN DELAY Serbia
RAINROOM Finland
RAXINASKY Belgium
RED PAPER DRAGON United Kingdom
REFRACTION Ireland
THE REPTILIANS United States
RETURNING WE HEAR THE LARKS United Kingdom
RIVIERE France
ROSETTA United States
ROUTE NINE Sweden
RWAKE United States
RYOKUCHI Japan
SAL Y MILETO Ecuador
SALVICTION Poland
SANNHET United States
SCHIZOID LLOYD Netherlands
SCORCHED SHORE United States
SECONDSKIN United Kingdom
SENMUTH Russia
SENSUAL NOISE Belgium
SEPIA DREAMER Sweden
SEVEN United States
SEVEN NAUTICAL MILES Sweden
SEVENTH EVIDENCE / KA.MMEN Ukraine
SHELTER RED United States
SHELVING Switzerland
SHEPHERDS OF CASSINI New Zealand
SHRINEBUILDER United States
SIGH Japan
SIKA REDEM United Kingdom
SINISTRO Portugal
SISARE Finland
SKAGOS Canada
SKEWED SKIES Germany
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

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