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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 FANTÔMAS, 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 are: (7/1/2022)
Kevin (Necroncommander)
Cristi
Sebastian (Kempokid)
Nick (nick_h_nz)
Brendan (Necrotica)

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 | 1664 ratings
LATERALUS
Tool
4.22 | 742 ratings
PART THE SECOND
Maudlin Of The Well
4.28 | 158 ratings
IMAGINARY SONICSCAPE
Sigh
4.19 | 691 ratings
TERRIA
Townsend, Devin
4.20 | 413 ratings
THE MANTLE
Agalloch
4.19 | 331 ratings
BATH
Maudlin Of The Well
4.16 | 742 ratings
JUDGEMENT
Anathema
4.15 | 624 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.38 | 59 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.16 | 353 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.19 | 208 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.15 | 372 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.19 | 169 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult Of Luna
4.25 | 90 ratings
SOULS AT ZERO
Neurosis
4.13 | 277 ratings
PANOPTICON
Isis
4.41 | 42 ratings
FEA JUR
Lye By Mistake
4.25 | 71 ratings
WRITTEN IN WATERS
Ved Buens Ende
4.07 | 1012 ratings
ÆNIMA
Tool
4.10 | 275 ratings
IN A FLESH AQUARIUM
Unexpect
4.16 | 122 ratings
THE PAINTER'S PALETTE
Ephel Duath

Experimental/Post Metal overlooked and obscure gems albums new


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

THE MINSTREL'S CURSE
Noekk
OMEGA
Cancer Conspiracy, The
REQUIEM - MEZZO FORTE
Virgin Black
IN A FLESH AQUARIUM
Unexpect

Latest Experimental/Post Metal Music Reviews


 Unwavering Resonance by 0N0 album cover Studio Album, 2022
3.95 | 2 ratings

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Unwavering Resonance
0n0 Experimental/Post Metal

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

4 stars Graceful and enjoyable, regardless of post-death-doom metallic soundscape. Such a fascinating impression I've got at the moment I listened to this album. Actually I had a great interest in them just as wondering what their moniker should be pronounced, and their creation far surpassed my expectations really. Not only powerful distorted distracted death-doom-y voices but also their sensitive, flavourful instrumental plays completely catch my heart strictly. Guess they should be obviously inspired by North European Metal like TNT (my love), Entombed (my love), or Opeth (my love of course!) and amazing grace of the 'legends' is set with every single phrase of theirs. Basically death-doom production gives us much excitement and encouragement, but in addition, "Unwavering Resonance" and 0N0's polished works stabilize and tranquilize us mysteriously and mystically. It's no doubt we are invaded and attracted by the North Europe Metal Scene.

First of all please give it a listen. The first step "Clay Weight", much heavier and stickier than the title, is one of masterpieces filled with almost all of their musical components. From the beginning we get pretty impressed and amazed with their dynamic but smooth, delicate melody lines and rhythm basements. Distorted dissected voices are also comfortable for us. No matter how they get metallic or loud, the sound itself would not have any effect but to charm us the listeners. The following "Shattering" is kinda more twisted, more dissonant, and more esoteric ecstasy. Such a magical indication might come from decent, stable, silky drumming I imagine? The titled track is just a beauty, full of elegant guitar progression, supportive rhythm section turf, and vibe of death voices with wondrous choruses. And this fantasy possesses incredible energy and explosive magma. Quite challenging to play such a crazy creation indeed, but they do without anything out of ordinary. The epilogue started with desert-y calmness involves slowtempo but obviously dignified sensitivity. Dry fruity sound texture reminds us of the similar vein to Krauty psychedelia too, but possibly they would not have turned their musical appearance for the polarity. Simply they play pure and clear death doom metal ... This definitely makes sense.

Aside from such a difficult or argumentative discussion, we can easily understand what we feel and what we acquire via their opus. Enjoy.

 Undertow by TOOL album cover Studio Album, 1993
3.23 | 652 ratings

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Undertow
Tool Experimental/Post Metal

Review by DangHeck

3 stars Their first LP, Undertow (1993) is the album that put Tool on the map, featuring one of their biggest hits, "Sober". Certainly then, by enough accounts, a highly successful debut. My problems start here, as the Tool Problem starts here: too long, not enough substance for me. At least this is my feeling going in. [And coming out.] Last time I listened through their discography, it was my first time, and I listened through their discography. Absolutely exhausting haha.

"Intolerance" starts off the affair with their style, now well-known, put firmly and pretty strongly in place. A lot of good things here. Not super, though. One of the other better known songs is next, the awfully Tool-entitled "Prison Sex". This'n honestly has a very cool main riff, starting us out from the void. Keenan has a pretty interesting melody here in the verse. But in that, its potential is lost by just being plain flat, static. This is the mode Tool takes unto themselves that I find most unappealing. Our song's bridge begins right around minute 3, a very cool, ominous shift in tone. Then it's back to meh.

On we are to what always felt like the main event, the not-surprising radio hit "Sober", a song I genuinely enjoy and have of course known for as long as I can remember. A winning melody, eerie lyrical content and plenty of Alt Metal beef. The most progressive this one goes, though, is with loud-quiet dynamics. Next is the heavier... and I did not try this... the heavier "Bottom" haha. Unlike Opiate before it, Undertow is the start of more longform material for the band, everything right around 5 minutes or more. "Bottom" comes in around 7 minutes. I frankly don't recall this one. There is a classic slowing, reminiscent honestly to me of some of the earliest Heavy Metal, to early Black Sabbath. And with this change in feel comes a very-Tool section of ambience, fitted honestly very well with a still-surprise Henry Rollins feature. This will be familiar tonally to certain tracks from his Rollins Band, in my opinion one of the best Alt Metal has to offer, and at times equally as progressive and daring (my favorite has always been End of Silence). Anyways, pretty good. Still not much in the way of a Proggy wow factor.

Slowly exiting the first half, our next track is "Crawl Away". This has some of the best guitar work yet. Sort of gives me early Stone Temple Pilots feelings. Which is a good thing. I love Core, frankly. But I was curious, coming off of Opiate, how much post-Grunge would come out of this one with my second listen-through. In other ways, through and through, this track is a new favorite. Of course Carey is on fire. But everyone here is working impeccably together. Progginess maybe still wanting for some. But I'll gladly take a good track regardless. Entering into a far-less-than-favorite, we have "Swamp Song". Just boring. Another track that just couldn't possibly be saved by a more-than-decent bridge. Onto the title track, "Undertow" has some spunk. And a lot of Tool. But this one also, on a positive note, has some of the more unique guitar work as well. Another breakdown bridge here, which has some positive results.

On the backend, we have a track I remember pretty well, one of the sure highlights in my opinion, "4°". Eastern influence clear at the start. The majority of the track is nearly played clean, and Keenan sings more melodically here than most tracks. This near-instrumental bridge certainly has nothing to save haha. Features some, again, Eastern percussion. It's not a wildly experimental track or anything, end of the day, but it is good. Next we have "Flood". Low and slow start... and pretty much nothing happens for about 4 minutes. Yawn. Shifts around then in its second half, but I'm just not enthused. Finally, we have the otherwise only ~7 minute-long "Disgustipated"... Great name, guys. We love it.../s This is the most experimental track by far, featuring sort of Industrial sounds and other various, nontraditional sounds. It's not really doing it for me though. I'd rather listen to "Revolution 9". Also, the lyrics I can hear just strike me as cheesy. It's not really a hidden track to follow, just 7 more minutes of crickets. Interesting choice. In general, I can get behind it.

A rarely rounded-up True Rate of 2.5/5.0.

 Opiate (EP) by TOOL album cover Singles/EPs/Fan Club/Promo, 1992
2.84 | 252 ratings

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Opiate (EP)
Tool Experimental/Post Metal

Review by DangHeck

2 stars Lest we forget that "Tool" is not at all subtle code for genitalia, Keenan and Co. give us plenty of unabashed, adolescent cringe on this, their first major-label release (Zoo Entertainment, 1992). The Opiate EP features a few tracks previously found on their true debut, 72826 (1991), a title phone-coded to mean "SATAN". Preceding their more progressive, (slightly) compositionally adventurous material, much of this EP has positively of-the-time sonic choices. You may be able to compare it to other Alt Metal acts such as Helmet or even (eventually) Deftones. The first thing that may be noted is the lower quality recordings, resulting in a more quiet and muddy release.

"Sweat" is our opener, a firmly Alt Metal number featuring decently memorable melodies and solid performances, most notably from drummer Danny Carey (shocker). His performance provides some major groove and general rhythmic interest. Most interesting of all to me is "Sweat"'s appearance on the OST to the much-later-than-I-thought Escape From L.A. (1996). "Hush", next, features some big, classic metal riffs and a pretty stellar vocal performance from Keenan. Not a lot of interest here, perhaps peaking with a sort of breakdown at the end. We return to rhythmic interest on "Part of Me", so much so that it could very well have been a mid-period Rush track at times. The chorus reveals some Post-Hardcore roots, also shining through on some of the guitar work in riff and melody. Post-Hardcore always had plenty of potential for experimentation. Pretty good.

"Cool And Ugly", a live performance, begins with the call to "Throw that Bob Marley wanna-be mother[%*!#]er outta here." Doesn't that just make you feel warm and bubbly? Anyways, decent Metal riffage. But pretty meh, pretty lackluster track ultimately. Worst of the bunch? [Yep.] This performance seems to go right on into our next live track, "Jerk-Off", another return to some interest, methinks. There are some stylistic markers that definitely feel like a glance forward into material off Undertow (1993), especially with the more free, softer vocal performance. Keenan jumps back and forth between this and, moreso, punky atonality. The bridge here has something going on, but not a whole lot to save the track's single-minded nature. Finally, the title track, "Opiate", a continuation of that melodic, softened vocal style. This is also the second track that strikes me as, admittedly unsurprising, post-Grunge affect. Alright if you don't hear it, but there's much that sounded like this in the coming years, enter the mid-90s. Some of the melodies didn't age too well to my ears. Corny. Slightly longer-form at maybe 5 minutes (featuring a hidden track), "Opiate" wavers in and out of post-Ambience. The rolling drums around the middle mark is definitely one of the greatest moments on the album. This hidden track has a surprise Psychedelia about it, "The Gaping Lotus Experience", which at times also reminds me weirdly of some of the vocal absurdities of Frank Zappa(?). There are certainly higher compliments from the possible comparisons one can make to Frank though.

Anyways, fairly decent early release.

 Shiki by SIGH album cover Studio Album, 2022
4.68 | 10 ratings

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Shiki
Sigh Experimental/Post Metal

Review by Dapper~Blueberries

5 stars Well, this seems like a great contender for album of the year. I have said this before but Prog has been killing it this year. There have been so many great releases that I can tell will be regarded as instant classics for the next 10 years, and it seems like we'll get even more this September. So I wanna highlight an album from last month that has quickly become one of my favorites this year. The metal we got from this year so far has been at worst ok, but at best stellar, and this right here is the cream of the crop in terms of that experimental, highly pronounced progressive metal.

Sigh is a band that cropped up in the late 80s in Tokyo, Japan. Their current line-up includes Mirai Kawashima (Lead vocals, keyboards, sampler, programming, vocoder, woodwinds, bass, percussion, and arrangements), Satoshi Fujinami (Bass, guitars, drums), Junichi Harashima (Drums), Mika Kawashima, AKA Dr. Mikannibal (Saxophone, vocals), and Nozomu Wakai (Guitars). They were considered one of the first black metal bands in Japan, however, they had a resolve to experiment, which paid off by 2001 with their most acclaimed album yet, Imaginary Sonicscape. So far they have had a good track record of creating great albums that have an evocative, psychedelic, and straight-up insane music. They have an edge when regarding experimental metal music in the past decade, and they still have one even now. So far from what I have heard from them, they haven't released a single bad album, and I doubt they'll stop anytime soon. So, this is their 12th studio release, and I must say that this is probably their strongest album to date.

Minus Kuroi Inori, which is just a 16-second prelude, the first track, Kuroi Kage is one of the best openers for a metal album I heard this year. I adore how it has this intense and overarching build-up to a satisfying payoff with that intense, and almost sludge metal riff. The main focus point here is probably the Eastern influences. In the albums I have heard from them, they never really had any sort of sound and structure that felt very Eastern, only really dipping their toes into that whole cultural style on a few occasions. Here though is when you hear a more old Japanese sound. It is like the band is embracing their country's culture while also embracing their intense music, combining the two into a harmonious mix. It's honestly to god the most structural metal song I heard from this year, and I think if there was a track that can get someone hooked instantly to this band, it'd have to be this one.

I said before that the last track almost had a sludge metal riffage to it, well take that and give it a sprinkle of Mastodon-influenced sounds with the next track, Soujahitsumetsu. Besides the Japanese singing, this feels very reminiscent of that early 2000s sludge metal sound that Mastodon was pioneering with Remission and Leviathan. However, I never felt like they were copying that sound. Instead I feel like they are using it to break a new mold, revitalizing that sound further to where it feels more intense, more grandiose, and more fun. This song just has a fun feel to it all, especially at that guitar solo after the halfway point, how it just feels so fast yet so full of energy. It's just a wild track that gives you a whirlpool of awesome riffs that help solidify it as an awesome track all around.

These elements get expanded upon with Shikabane, where we get even more fun flavors to work with. I love how it goes from this intense piece to a more atmospheric and synth-driven piece that gives this early days horror movie vibe. I love it wobbles around, almost like the album is taking a breather after going through a ton of epic metal pieces, before going back up again to that heavy attitude once more. I think the drumming here is the main highlight, how it can just go from some intense and speedy styles to more gripping and slow builds. I think if your album doesn't have good drumming, then you aren't doing a good job, because to me the drums are the heart of a song. A song can still be good without drums, that much is evident in many genres that do not even rarely have any drums like new age or acoustical music, but when you do have drums, they have to be strong or else everything will fall flat. With that being said, they are strong here. Some fun playing and stylization with the drums go a long, long way. It's just a great track all around.

Like how each song just builds to some amazing moments, the album just keeps building, and here we see one such of those amazing moments with Satsui - Geshi No Ato. Oh my god, no wonder this was chosen for the promotional single for this album because it is top-notch. I adore how bouncy, and just plain rambunctious the first half feels, and it feels like that throughout the entire stretch of the song until it dissipates this more electronic and very light soundscape that just envelopes you even more to this experimental sound. You can tell, after 11 albums of trying new things and experimenting, we get stuff like this that shows how this band can work with that intense, but also very fun and lively progressive metal sound.

Oh man, and it just gets better with Fuyu Ga Kuru. This song just goes through such a journey, that hones in on that Eastern style the band brought forth in spades with this album, having woodwinds in this song while also having a symphonic mellotron in the back, creating an atmosphere in many areas of this song, to then go back to that energetic sound in such a smooth and well thought out manner is flat out amazing. This album is embracing the band's country's culture in spades, and honestly, it really works for a metal style. That Japanese sound found here really gives this album an awesome and unique flavor that I haven't heard before. It is a unique experience for me, especially before listening to this album, I was mostly listening to more Western Prog bands, so hearing this was a very nice change of pace.

Believe it or not but the album just doesn't stop getting better, in fact, this is probably the best album it has gotten, and that statement goes to Shouku. Such an epic track. The intensity, the heat this propels is just marvelous. It is so fast that when it gets slower and heavy, it still feels like a rush of blood through my veins that just gets me hungrier for more. I just have to say this, but the part at 3:50 is so good. It is just heaviness in musical form that just drives through your head like a needle on a thread. It instantly pierces you, no, it takes a chainsaw and slashes your chest in, and it's the best feeling yet on this album. When I first heard it, time felt stopped in its tracks, and I think that is such an amazing feat for a band to pull, to just make your listener feel like time and everything around them just stopped moving. It is a hard, near impossible feat, but it feels like Sigh did it without any issue at all. I just love it so much, and I think it turns this entire album into a must-listen for me.

Skipping Kuroi Kagami, which isn't a track but more of a 1-minute interlude, for the next track, Mayonaka No Kaii. This is where all that build-up pays off in the end with a really strong track. It fully gives you that one-two punch of that epic metal sound, with those historical cultures the band embraces on this album. A full lot of flutes, Eastern stylizations, and a juicy amount of epic progression and composition are to be found here, all in five minutes, making it not the longest track, but yet still making it one of the juiciest, most fulfilling tracks this album can have an end on.

However there is still one last track, and that is Touji No Asa. Where Mayonaka No Kaii felt like a fulfilling piece, Touji No Asa feels like a true closure to this album, not making me hungry for more, but appetizing me up for what is next to come in the band's strong lineup of albums. It is a good end to this album, not ending with a giant bang, but with something quieter, and more ethereally potent.

When I mean this is a contender for album of the year, I mean it. It does so many things right, and each song just gets better and better. This is an album that you got to run and listen to because it is such a treat. Everything on it from the sound, to the bare essentials of what makes a metal album work is done with such potency that it makes this one of the strongest, most fulfilling Sigh album I have heard so far, and the most fulfilling metal album I have heard of this year so far. Give it a spin, you will not regret it.

 Scenes from Hell by SIGH album cover Studio Album, 2010
4.04 | 37 ratings

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Scenes from Hell
Sigh Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Scenes from Hell" is the 8th full-length studio album by Japanese progressive/experimental metal act Sigh. The album was released through The End Records in January 2010. It´s the successor to "Hangman's Hymn: Musikalische Exequien" from 2007 and features one lineup change since the predecessor as Sigh welcomes a fifth member to their ranks in female vocalist/saxophonist Dr. Mikannibal...

...and just as you thought Sigh couldn´t get any weirder or more boundary seeking, they turn the symphonic black metal style of "Hangman's Hymn: Musikalische Exequien" (2007) on its head (or at least twist it), and returns to a more raw basic speed/thrash/black metal style on the guitars, bass, and drums, but everything else is kept weird to the maximum. Somehow maintaining the occasional symphonic edge to their music, but using a lot of brass instrumentation/orchestration. As always it´s almost impossible to describe Sigh´s music in a way which ensures that the reader gets a good picture of what´s going on. I apologize in advance...

Few other artists are able to combine as different stylistic elements as Sigh do and make it work. It´s pretty bizarre listening to classical orchestration mixed with aggressive blackened speed/heavy metal and harsh snarling blackened vocals. Acts like Dimmu Borgir and their ilk have released symphonic black metal before Sigh started doing it, but it´s the unpolished rawness of the metal part of the music and the almost organic sounding classical orchestration which create a major contrast to the more polished and clean sounding symphonic black metal acts, and make Sigh stand out as unique.

"Scenes from Hell" features a raw and organic sounding production job, which suits the rawness of the music well, and the musicianship is on a high level on all posts, so upon conclusion it´s another intriguing, original, and distinct sounding release by Sigh, who continutes to be one of the most unique acts on the scene. A 4 star (80%) rating is deserved.

(Originally posted on Metal Music Archives)

 Light of Day, Day of Darkness by GREEN CARNATION album cover Studio Album, 2001
4.15 | 372 ratings

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Light of Day, Day of Darkness
Green Carnation Experimental/Post Metal

Review by Argentinfonico

4 stars If I had to define this album in a few words, I would do it with the phrase "An extensive and histrionic trip surfing the despondency of a dreamer".

"Light of Day, Day of Darkness" is a one hour song that runs through multiple crises of a sad man who misses the past and would do anything to live it again even a little longer, but, as he logically can't, he 'takes refuge' in his internal battles and lives a comfort zone in his existential crises.

This hour full of music begins atmospherically with the sound of wind and overwhelming keyboards (many tints of space rock) that gradually immerse us in the essence of the song. After 10 minutes, I assure you that you will already find yourself trapped in this sea of heavy riffs and addictive vocals. Maybe some parts can get too heavy due to the slow repetitions of the slow riffs, but this doesn't necessarily have to be a bad thing. There are albums that you listen to at a faster pace, and there are others that you listen to at a slower pace. If you are patient enough to listen to it, you can enjoy a very pleasant and vigorous piece of rock. In fact, it seems to be an album that, the more times you listen to it, the more enjoyable it becomes due to its particular rhythm and structure.

The biggest flaw I see in this album is that it has moments that are stretched out just to get to the hour song. It is very noticeable in some parts. If you ask me, I would subtract 10 minutes from these 60, but maybe I'm wrong and it wouldn't be the same. Despite that, as it is, it's a more than enjoyable piece of work. There is no doubt that it is a well done project!

 Our Raw Heart by YOB album cover Studio Album, 2018
4.50 | 9 ratings

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Our Raw Heart
YOB Experimental/Post Metal

Review by farebi_jalebi

5 stars A Monstrous creation by Mike at a time when he was recovering from life-saving surgery, as with most of their previous recordings, this band improves upon every release, and this record set them apart from other sludge/doom crowds.

You'll get your usual YOB attack of thick monstrous riffs, but a lot of importance was given to lyrics this time and they are a clear reflection of the state Mike was in, as the majority of it was written while he was in the hospital, the song Beauty in falling leaves opening just sets a somber beautiful mood, and that's just an example, the title track is even more epic, not going to rate individual tracks as this album is best enjoyed as a whole. Also, the album is long clocking well over 72 minutes and requires patience and features YOB's most trying yet beautiful material, makes no mistakes it's a still Doom infused with Sludge metal album, but the lyrics are filled with hope and triumph, it's an emotional journey which I recommend to anyone who likes heavy neurosis inspired music, a very underrated album of the past few years. 5/5

 The White Lady by NOEKK album cover Studio Album, 2021
3.17 | 3 ratings

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The White Lady
Noekk Experimental/Post Metal

Review by alainPP

3 stars NOEKK is the almost logical continuation of EMPYRIUM or how atmospheric dark metal can also compose in chamber music, or almost 'The White Lady' is a concept album comprising 11 songs telling the story of the ghost haunting the kingdoms of Plassenburg Castle in Kulmbach, the lyricist's hometown. Musically they take us on classical instrumentation, the softest and most atmospheric of NOEKK. The influences leave on LANDBERK for the melodies, TENHI for the expression and the raw sensitivity.

Acoustics, melody, EMPYRIUM without the electric in fact. NOEKK allows himself on these linked songs to explore even more the dark prog chamber side and the Scandinavian classics of the 90's; it flows from source like austere music to land near a wood fire and to listen to the fire crackling at the same time as the melodies. I note just for fun the part 1 for this divine voice with the lute, the 3 for the flute under wood and this symphonic air of another age, the 5 for its harpsichord, the 7 cover of the 1 for the atmosphere , the mysterious 8, from beyond the grave and the 9 for this fabulous organ of yesteryear, an air where the word quintessence takes on its full aura.

NOEKK therefore makes an incursion into acoustic prog rock, letting the listener dive into atmospheric volumes; an album not to put in all hands if you are not aware of what HELM and SCHWADORF know how to do. The most acoustic, the most refined to date.

 Trio Subliminal 2: Cinema Infernale by TRIO SUBLIMINAL album cover Studio Album, 2022
4.00 | 1 ratings

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Trio Subliminal 2: Cinema Infernale
Trio Subliminal Experimental/Post Metal

Review by Mirakaze
Collaborator Eclectic Prog Team

— First review of this album —
4 stars Going to Orenda Recordings' Bandcamp page for Trio Subliminal's second album and pressing play on the first song it recommends, "Obelisk", you may think you've begun listening to a rather conventional doom metal album: a heavy low-register guitar and drum march in B minor consisting of some basic chords... although the fact that it's released by a jazz label is a mite strange. A minute and a half in, a harmonized echoey trumpet appears and starts to play drawn out notes over the guitar chords; unusual but still that out of the ordinary. After the third minute of this 10-minute epic however, the march gradually loses its rigidity: the guitar chords become more dissonant and noisy, the drums and the trumpet become more arrhythmic and eventually it devolves into an almost ambient soundscape of guitar squeaks, erratic snares and ominous trumpeteering. This laid-back atmosphere is not to last however, as the drums again become less infrequent and more intense and guitarist Jake Vossler soon switches to a Van Halen-like moto perpetuo soloing style, almost as if attempting to reassert the order from the beginning of the song; it is beyond recovery however, and the song simply ends on some unaccompanied reverberated drum blasts.

Trio Subliminal is not a metal band like any other: rather it is a project by Vossler, trumpeter Dan Rosenboom and drummer Tina Raymond that aims to incorporate the principles of free and avant-garde jazz within the context and general aesthetic of a metal group. All songs on this album (three in total, with "Obelisk" being only half as long as the other two) were fully improvised and recorded in a single take. The album opener "Spectral Riders", the most free-form of all the songs, sounds like it's searching for a melodic foundation and in the end can only manage to establish a rhythmic beat, but a thoroughly captivating and varied recording it is nonetheless. The closer, "Kaiju", is the most structured and perhaps the most accomplished track, building itself up from more freely improvised drumming towards an actual riff, and the transitions from order to chaos and back feel much more seamless here, except for one section in the middle where the band falls completely silent and only Rosenboom is left wailing into the void before Vossler abruptly interrupts the emptiness with another distorted chord.

But even these mammoths can't sustain themselves under the pressure from the musicians' free spirits and improvisation instincts and ultimately collapse into a noisy mess of feedback, effects and percussion. Cinema Infernale is a doom metal album that depicts not only the armies marching to war, but also the chaos, destructiveness, anxiety and tragedy of warfare itself.

 Fenice by UFOMAMMUT album cover Studio Album, 2022
4.00 | 3 ratings

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Fenice
Ufomammut Experimental/Post Metal

Review by DamoXt7942
Forum & Site Admin Group Avant/Cross/Neo/Post Teams

4 stars What a fruitful sound combination. Their sound combination of metallic heaviness, spacey psychedelia, lyrical quietness, and dissonant bitterness, should be incredibly balanced as well. We UFOMAMMUT fans had been looking forward to the release of "Fenice" that finally came in May. This brilliant souvenir will encourage us, who have been getting disappointed and depressed by such a terrible pandemic situation. The sleeve pic is drastically psycho- hysterical and bombastically extraordinary but at the same time appeals to us energetically. The content is deep, sticky, kinky and thrashing, but simultaneously has such a potential to empower and stimulate us.

Their massive tension explodes from the beginning of the first shot "Duat" - infernal electro-attacks via Urlo's synthesizer should be crucial. Cracked psychopathic stoner space passages in the middle part are also comfortable, as if they might look through our brain perfectly. We cannot feel long nor lengthy regardless of the longest stuff in the album. First of all a magnificent booster shot. "Kepherer", one of the shortest tracks, is kinda heterogeneity in this creation. Surrealistic ambience plus sophisticated inorganic electronica takes us into mystic meditation. But we have no time to stabilize ourselves, of course. The third "Psychostasia", one of my favourite tracks, involves tranquil spacey vibes and profound psychedelic darkness. Why can we avoid mentioning this as such another-dimensional beauty? The latter uptempo heavy garage-y movements with dramatic sound distortion completely shake our inner mind up.

Enjoy another meditative fantasy "Metamorphoenix", where we could be surprised and shocked at their weird calmness and unstable stability. This kind of drone should be good for us to take a rest, but this moment full of distortion beneath the soundscape gives us another palpitation. The following "Pyramind" can be called as a matured mixture of quirkiness, quietness, darkness, politeness ... especially in the latter phase. Quite heavy and painful but dramatic and enthusiastic, as well as the former loudly explosive dissonance, isn't it? The last run "Empyros" is the gold standard of their extreme mindset. All of their positive sound appearance can be launched only for two and half minutes. It's wonderful that the cool and impressive aftertaste be left behind us. We will be happy to get such a fascinating creativity and mysterious melodic and rhythmic hybridization.

Data cached

Experimental/Post Metal bands/artists list

Bands/Artists Country
*SHELS United States
0N0 Slovakia
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
AETHERIA CONSCIENTIA France
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
AN ISOLATED MIND United States
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
ASTRONOID United States
AT THE SOUNDAWN Italy
THE ATLAS MOTH United States
ATMOSPHERES Belgium
THE ATOMIC BOMB AUDITION United States
ATROX Norway
AU-DESSUS Lithuania
AUSSITÔT MORT France
AUSTARAS United States
THE AXIS OF PERDITION United Kingdom
AZIOLA CRY United States
BACK WHEN United States
BAK Australia
BALOTHIZER Greece
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
IVAR BJØRNSON & EINAR SELVIK Norway
BLACK MATH HORSEMAN United States
BLACK SEA Brazil
BLACK SHEEP WALL United States
BLACK VOMIT United Kingdom
BLACKWAVES Germany
BLINDEAD Poland
BLOOD & TIME United States
BLOODWAY Romania
BLOODY PANDA United States
BLUT AUS NORD France
BOBEL Costa Rica
BOSSK United Kingdom
BOTANIST United States
BRAIN TENTACLES United States
BRIDGES TO DREAMS Canada
BRÍI Brazil
BUILT-IN OBSOLESCENCE Italy
BUNKUR Netherlands
BURIED INSIDE Canada
BURN DOWN ROME United Kingdom
BURWEED Finland
BUTTERFLY TRAJECTORY Poland
BUZZARD United States
CAINA United Kingdom
CALDERA France
CALLISTO Finland
CALYCES Greece
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
CEMICAN Mexico
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
COLONEL PETROV'S GOOD JUDGEMENT Germany
COME SLEEP Sweden
COMITY France
CONIFER United States
THE CONJURATION United States
CONSECRATION Serbia
CORMORANT United States
COSMONAUTS DAY Russia
COUNTERVELA Ireland
CRIB45 Finland
CRYPTIC RUSE United States
CULT OF LUNA Sweden
D.U.N.E. Italy
DAKRYA Greece
DAMASCUS United States
DARK CASTLE United States
DARK SUNS Germany
DARKESTRAH Germany
DARKHER United Kingdom
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
DECLINE OF THE I France
DECORTICA New Zealand
DEEP IN THOUGHT Germany
DEFYING Poland
DETERIOR United States
DEVIL SOLD HIS SOUL United Kingdom
DIESTO United States
DIGRESSION ASSASSINS Sweden
DIMLAIA United States
DIRGE France
DISAPPEARER United States
DIVINA ENEMA Belarus
DØDSVERK Norway
DOOM Japan
DORNENREICH Austria
DOTZAUER Italy
DR. SLAGGLEBERRY United Kingdom
DRAWN Norway
DREADNOUGHT IN THE POND Ukraine
DREARE Czech Republic
DREARINESS Italy
DYING SUN United States
EAGLE TWIN United States
EARTH United States
EAST OF THE WALL United States
EBONY LAKE United Kingdom
ECHOES United Kingdom
ECHOES OF YUL Poland
ECHOSILENCE Estonia
EDGE OF REALITY United States
EGOIST Poland
EHNAHRE United States
EIDOLA United States
EIGENGRAU Denmark
EIGHT BELLS United States
EINNA France
ELLIPSIS France
EMPIRES United States
EMPTY YARD EXPERIMENT United Arab Emirates
ENDER New Zealand
ENDNAME Russia
ENSEMBLE 1 United Kingdom
EPHEL DUATH Italy
EPISTASIS United States
ESCHATOS Latvia
ETERNAL DEFORMITY Poland
ETHERSENS France
EVIL INSIDE Spain
EX CURIA Australia
EX EYE United States
EXOTIC ANIMAL PETTING ZOO United States
EXTINCTION ALGORITHM Romania
FALL OF EFRAFA United Kingdom
FALLOCH United Kingdom
FALLS OF RAUROS United States
FAR AWAY France
FAWN LIMBS United States
FEN United Kingdom
FIFTH QUADRANT Sweden
FIRMAM3NT Spain
FLEURETY Norway
FLOOD THE DESERT United States
FOLLOW THE WHITE RABBIT Russia
A FOREST OF STARS United Kingdom
FORMLOFF Norway
FOUNTAINHEAD Germany
FREQUENCY EATER Belgium
FROM OCEANS TO AUTUMN United States
FURIA Poland
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
GHOSTBOUND United States
GIANT SQUID United States
GIGANTIC BRAIN United States
GIRE Hungary
GLETSCHER Switzerland
GNAW THEIR TONGUES Netherlands
GODSEND Norway
GONIN-ISH Japan
GOSPEL United States
GRAAL (UKR) Ukraine
THE GRASSHOPPER LIES HEAVY United States
GRAVITON United States
GRAYCEON United States
THE GREAT OLD ONES France
GREEN CARNATION Norway
HADEAN United States
HAH Monaco
HAIKU FUNERAL Multi-National
HAIL SPIRIT NOIR Greece
HALCYON Australia
HAMMERS OF MISFORTUNE United States
HAND United Kingdom
HARVEY MILK United States
HEAVEN IN HER ARMS Japan
HEIRS Australia
HELIUM HORSE FLY Belgium
HELLAS MOUNDS United States
HERETOIR Germany
HESPERIAN DEATH HORSE Croatia
HIPOSPADIA Spain
HUMANFLY United Kingdom
HUNDRED HEADLESS HORSEMEN Finland
HVØSCH Russia
HYDRA Mexico
HYPNO5E France
ICEBURN United States
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
JUGGERNAUT Italy
OLIVER KAAH Finland
KAATAYRA Brazil
KAILASH Italy
KALKI AVATARA Italy
KARABOUDJAN Sweden
KEELHAUL United States
KEKAL Indonesia
KEVEL Greece
KHANATE United States
KHEMEÏA France
KHOMA Sweden
KHÔRADA United States
KHUDA United Kingdom
KICK THE BUTTERFLY Australia
KILTER United States
KINGDOM Belgium
KLABAUTAMANN Germany
KOLLWITZ Norway
THE KOMPRESSOR EXPERIMENT Switzerland
KONG Netherlands
KONGH Sweden
KORZO Ukraine
KOSMOGRAD Canada
KRAKOW Norway
KRUGER Switzerland
KYLESA United States
RAINER LANDFERMANN Germany
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
LITURGY United States
LÖBO Portugal
LOCRIAN United States
LOOK TO WINDWARD New Zealand
LORUS United States
A LOST STATE OF MIND United States
LOTUS THIEF United States
LUCID PLANET Australia
LUCYNINE Italy
LUDICRA United States
LUMINOUS VAULT United States
LYE BY MISTAKE United States
MADÁRFOGÁS Hungary
MADE OUT OF BABIES United States
MAHESH Chile
MAMALEEK United States
MAMMOTH New Zealand
MANATEES United Kingdom
MANDIBULBE France
MANES Norway
MANUSCRIPTS DON'T BURN Italy
MAR DE GRISES Chile
MARE United States
MARE COGNITUM 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
MOLYBARON France
MOMENTUM Iceland
MONDRIAN OAK Italy
MONUMENTUM Italy
MORAINES Croatia
MORNE United States
THE MORNINGSIDE Russia
MOROWE Poland
MORTIFERIA Norway
MOSE GIGANTICUS United States
MOSKAU Germany
MOUNTAINS BECAME MACHINES United Kingdom
MOUTH OF THE ARCHITECT United States
MOVEMENT OF STATIC Greece
MUTYUMU Japan
MY SILENT WAKE United Kingdom
MYSTER MÖBIUS 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
NEURONAUT Sweden
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
NOISEDRIVER Belgium
NOORVIK Germany
NORDSIND Denmark
NORTH United States
NOVEMBRE Italy
NUCLEUS TORN Switzerland
O.L.D. United States
OBSIDIAN KINGDOM Spain
OBSIDIAN TONGUE United States
THE OCEAN DOESN'T WANT ME South Africa
THE OCEAN Germany
OCOAI United States
ODE AND ELEGY United States
ODRADEK ROOM Ukraine
ODRAZA Poland
OHGOD! South Africa
THE OLD DEAD TREE France
OLD MAN GLOOM United States
OMB Israel
THE OMEGA EXPERIMENT United States
OMEGA MASSIF Germany
OMERTAH Ukraine
ONE STARVING DAY Italy
ÖOOOOOOOOOO France
ORANSSI PAZUZU Finland
ORDO DRACONIS Netherlands
ORGAN: Norway
ØRKENKJØTT Norway
ORPHANED LAND Israel
ORTHODOX Spain
OSI United States
OSTROVA Spain
THE OTHER SIDE OF THE SKY United States
OTTONE PESANTE Italy
OUTOPSYA Italy
OUTRUN THE SUNLIGHT United States
OVERMARS France
ÖXXÖ XÖÖX France
PAN.THY.MONIUM Sweden
PANOPTICON United States
PAPANGU Brazil
THE PAX CECILIA United States
PECCATUM Norway
PELICAN United States
PET SLIMMERS OF THE YEAR United Kingdom
PIKE Sweden
PINKLY SMOOTH United States
PLEBEIAN GRANDSTAND France
THE POSTMAN SYNDROME United States
POSTVORTA Italy
PRISMA Switzerland
PROGHMA-C Poland
THE PROPHECY United Kingdom
PRYAPISME France
PSYCHOFAGIST Italy
PSYKUP France
PULL DOWN THE SUN New Zealand
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
REAL LOUD United States
RED PAPER DRAGON United Kingdom
REFRACTION Ireland
REGARDE LES HOMMES TOMBER France
THE REPTILIANS United States
THE RETICENT United States
RETURNING WE HEAR THE LARKS United Kingdom
RIVIERE France
ROSETTA United States
ROUTE NINE Sweden
RWAKE United States
RYOKUCHI Japan
RYR Germany
SAL Y MILETO Ecuador
SALVICTION Poland
SANNHET United States
SCAPHOID United States
SCHIZOID LLOYD Netherlands
SCIENTIST United States
SCORCHED SHORE United States
SECONDSKIN United Kingdom
SELCOUTH Finland
SENMUTH Russia
SENSUAL NOISE Belgium
SEPIA DREAMER Sweden
SEVEN United States
SEVEN NAUTICAL MILES Sweden
SEVEN NINES AND TENS Canada
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
SKRYPTOR United States
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
SOL KIA Belgium
SOLSTAFIR Iceland
SOMALGIA United Kingdom
SONS OF ALPHA CENTAURI United Kingdom
SOUTH HARBOUR Denmark
SPACEKING Russia
SPINOZARRE France
SPRING & YOUTH Serbia
SQUALUS United States
STAGNANT WATERS France
STALINGRAD Spain
STANDING OVATION Finland
STARE AT THE CLOUDS Australia
STATS United States
STEAK NUMBER EIGHT Belgium
STONE HEALER United States
STORCHI Israel
A STORM OF LIGHT United States
SUBROSA United States
SUBTERRANEAN MASQUERADE Multi-National
SUFFOCATE FOR FUCK SAKE Sweden
SUMAC Multi-National
SUMMIT Italy
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
THEOS United States
FREDRIK THORDENDAL'S SPECIAL DEFECTS Sweden
THOSE DARNED GNOMES United States
THOU United States
THY CATAFALQUE Hungary
TIDES United States
TIDES FROM NEBULA Poland
TIME TO BURN France
TIME ZERO United States
TIMEWORN Norway
TITAN Canada
TO THOSE WHO EXIST Germany
TODTGELICHTER Germany
TOMYDEEPESTEGO Italy
TOOL United States
TOUNDRA Spain
TOWN PORTAL Denmark
DEVIN TOWNSEND Canada
TRANSMISSION0 Netherlands
TRAPPIST SYSTEM TRIO Russia
TREPHINE United States
TRIBES OF NEUROT United States
TRIO SUBLIMINAL United States
TROLDHAUGEN Australia
TRUTHSEEKER United States
TUSK United States
TWIN ZERO United Kingdom
UARAL Chile
UBOA Australia
UFOMAMMUT Italy
UNA CORDA United Kingdom
UNEXPECT Canada
UNHOLD Switzerland
UNIVERSE217 Greece
UNSOUL Germany
UNTU United States
UPRISING FORMALHAUT Ukraine
URNA Italy
USER NE Spain
VAKA Sweden
VAN DIEMEN Australia
VANESSA VAN BASTEN Italy
VAURA United States
VAURUVÃ Brazil
VED BUENS ENDE Norway
VERLIES France
VIRGIN BLACK Australia
VIRUS Norway
VISCERA/// Italy
VOID United Kingdom
VOID OF SILENCE Italy
VOID OF SLEEP Italy
VULTURE INDUSTRIES Norway
WAKE UP ON FIRE United States
WALKING ACROSS JUPITER Russia
WASTE OF SPACE ORCHESTRA Finland
THE WATERS DEEP HERE United States
WE LOST THE SEA Australia
WE MADE GOD Iceland
WEAKLING United States
WEEPING SORES United States
WHAT MAD UNIVERSE France
WHAT THE BLOOD REVEALED United Kingdom
WHEN DAY DESCENDS Australia
WHIRLING Sweden
WHITE WARD Ukraine
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
YAWN Norway
YEAR OF NO LIGHT France
YOB United States
YTO SOLREISER Norway
ZATOKREV Switzerland
ZEBULON PIKE United States
ZENI GEVA Japan
ZOZOBRA United States
ZVOYN France

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