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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
Karl (bonnek)
Kevin (Necroncommander)
Alex (Rune2000)
Thanos (aapatsos)
Dave (Prog Sothoth)

Experimental/Post Metal Top Albums


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

4.25 | 558 ratings
PART THE SECOND
Maudlin Of The Well
4.22 | 1152 ratings
LATERALUS
Tool
4.22 | 538 ratings
TERRIA
Townsend, Devin
4.21 | 473 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.33 | 98 ratings
IMAGINARY SONICSCAPE
Sigh
4.26 | 141 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.17 | 572 ratings
JUDGEMENT
Anathema
4.17 | 252 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.17 | 221 ratings
BATH
Maudlin Of The Well
4.16 | 236 ratings
IN A FLESH AQUARIUM
Unexpect
4.60 | 29 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.13 | 287 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.18 | 120 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult of Luna
4.19 | 108 ratings
SOL NIGER WITHIN
Thordendal's Special Defects
4.13 | 203 ratings
PANOPTICON
Isis
4.11 | 297 ratings
THE MANTLE
Agalloch
4.08 | 703 ratings
ĆNIMA
Tool
4.08 | 502 ratings
ALTERNATIVE 4
Anathema
4.10 | 280 ratings
MABOOL - THE STORY OF THE THREE SONS OF SEVEN
Orphaned Land
4.64 | 23 ratings
FEA JUR
Lye By Mistake
4.29 | 53 ratings
SOULS AT ZERO
Neurosis
4.14 | 104 ratings
THE PAINTER'S PALETTE
Ephel Duath
4.03 | 755 ratings
WE'RE HERE BECAUSE WE'RE HERE
Anathema
4.05 | 295 ratings
SYNCHESTRA (THE DEVIN TOWNSEND BAND)
Townsend, Devin
4.08 | 164 ratings
OCEANIC
Isis
4.17 | 75 ratings
SUSPENDED ANIMATION DREAMS
Subterranean Masquerade
4.06 | 226 ratings
S.U.S.A.R.
Indukti
4.08 | 172 ratings
WAVERING RADIANT
Isis
4.05 | 241 ratings
ÉCAILLES DE LUNE
Alcest
4.04 | 279 ratings
FABLES OF THE SLEEPLESS EMPIRE
Unexpect
4.04 | 238 ratings
OCEAN MACHINE: BIOMECH
Townsend, Devin
4.55 | 22 ratings
TűNő IDő TÁRLAT
Thy Catafalque
4.00 | 743 ratings
WEATHER SYSTEMS
Anathema
4.22 | 51 ratings
WRITTEN IN WATERS
Ved Buens Ende
4.02 | 247 ratings
EPICLOUD (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.08 | 102 ratings
OMNIO
In The Woods...
4.71 | 15 ratings
BEWARE THE SWORD YOU CANNOT SEE
Forest Of Stars, A
3.99 | 236 ratings
OFFICE OF STRATEGIC INFLUENCE
OSI
4.38 | 25 ratings
OPPORTUNISTIC THIEVES OF SPRING
Forest Of Stars, A
4.17 | 46 ratings
THE MALEDICTION FIELDS
Fen
4.04 | 99 ratings
IF_THEN_ELSE
Gathering, The
4.17 | 46 ratings
TEETHED GLORY AND INJURY
Altar of Plagues
4.30 | 29 ratings
THE GALILEAN SATELLITES
Rosetta
4.59 | 15 ratings
MYSTER MÖBIUS
Myster Mobius
4.04 | 75 ratings
LEAVING EDEN
Antimatter
3.98 | 127 ratings
EPOCH
Fen
4.19 | 32 ratings
UNDERSTANDING CONSEQUENCES
Day Without Dawn
4.77 | 11 ratings
ELIL
Fall of Efrafa
3.91 | 348 ratings
DECONSTRUCTION (DEVIN TOWNSEND PROJECT)
Townsend, Devin
3.96 | 114 ratings
NIGHTTIME BIRDS
Gathering, The
3.99 | 88 ratings
VERTIKAL
Cult of Luna
4.03 | 59 ratings
OI MAGOI
Hail Spirit Noir
4.01 | 67 ratings
PREHISTORICISMS
Intronaut
3.97 | 92 ratings
PELAGIAL
Ocean, The
3.90 | 259 ratings
THE NEVER ENDING WAY OF ORWARRIOR
Orphaned Land
3.99 | 68 ratings
PRECAMBRIAN
Ocean, The
4.31 | 20 ratings
THE LOCUST YEARS
Hammers of Misfortune
3.89 | 271 ratings
ADDICTED (DEVIN TOWNSEND PROJECT)
Townsend, Devin
3.93 | 120 ratings
CASUALTIES OF COOL
Townsend, Devin
4.36 | 18 ratings
ABSOLUTE ZERO
Tetrafusion
4.50 | 14 ratings
TERRAFORMING
Postman Syndrome, The
3.90 | 186 ratings
ACCELERATED EVOLUTION (THE DEVIN TOWNSEND BAND)
Townsend, Devin
4.10 | 37 ratings
PAINTING ON GLASS
3rd And The Mortal, The
4.20 | 26 ratings
A SHADOWPLAY FOR YESTERDAYS
Forest Of Stars, A
3.95 | 86 ratings
THE FIRE IN OUR THROATS WILL BECKON THE THAW
Pelican
4.04 | 47 ratings
RÓKA HASA RÁDIÓ
Thy Catafalque
4.57 | 12 ratings
MICROCOSMOS
Thy Catafalque
4.10 | 34 ratings
SEA OF THE DYING DHOW
shels
3.93 | 103 ratings
SOUVENIRS D'UN AUTRE MONDE
Alcest
3.98 | 64 ratings
A SUN THAT NEVER SETS
Neurosis
4.05 | 41 ratings
THE BEES MADE HONEY IN THE LION'S SKULL
Earth
3.90 | 140 ratings
GORDIAN KNOT
Gordian Knot
3.97 | 64 ratings
ANTHROPOCENTRIC
Ocean, The
3.90 | 134 ratings
HOW TO MEASURE A PLANET?
Gathering, The
4.30 | 18 ratings
MANTIIS
Obsidian Kingdom
4.10 | 31 ratings
EVE
Ufomammut
3.85 | 460 ratings
A NATURAL DISASTER
Anathema
3.85 | 286 ratings
GHOST (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.05 | 35 ratings
RENGETEG
Thy Catafalque
3.83 | 730 ratings
10,000 DAYS
Tool
4.71 | 9 ratings
MELANCHOLIE˛
ColdWorld
3.84 | 401 ratings
A FINE DAY TO EXIT
Anathema
4.00 | 43 ratings
PLAINS OF THE PURPLE BUFFALO
shels
4.01 | 41 ratings
HEART OF THE AGES
In The Woods...
3.88 | 124 ratings
THE ACOUSTIC VERSES
Green Carnation
3.87 | 147 ratings
MANDYLION
Gathering, The
4.17 | 22 ratings
CARHEART
Virus
4.27 | 17 ratings
NOIR
Callisto
3.84 | 264 ratings
KI (DEVIN TOWNSEND PROJECT)
Townsend, Devin
3.92 | 66 ratings
THE EYE OF EVERY STORM
Neurosis
3.98 | 44 ratings
THE IMAGINARY DIRECTION OF TIME
Winds
3.85 | 165 ratings
ALL IS ONE
Orphaned Land
3.84 | 172 ratings
LES VOYAGES DE L'ÂME
Alcest
4.26 | 16 ratings
CENOTES
Giant Squid
4.24 | 17 ratings
HEX: OR PRINTING IN THE INFERNAL METHOD
Earth
4.19 | 19 ratings
THE RITUAL FIRES OF ABANDONMENT
Minsk
3.83 | 186 ratings
ASHES AGAINST THE GRAIN
Agalloch
3.98 | 39 ratings
WHITE TOMB
Altar of Plagues
3.91 | 62 ratings
GRAVE HUMAN GENUINE
Dark Suns
3.97 | 39 ratings
BLESSED ARE THE BONDS
Pax Cecilia, The

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

POWER HÖR
Lesbian
SAMUS OCTOLOGY
Irepress
THIS GRAND SHOW
Grayceon
TWILIGHT RITUAL
Deadbird

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Latest Experimental/Post Metal Music Reviews


 Ótta by SOLSTAFIR album cover Studio Album, 2014
3.93 | 29 ratings

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Ótta
Solstafir Experimental/Post Metal

Review by FragileKings
Prog Reviewer

4 stars It was very sad news for me to read a couple of months back that drummer Gudmundur Oli Pamason (spelled here without the Icelandic letters) had been kicked out of the band in January. He wrote a long explanation of the recent events occurring between him and his former band mates on Wordpress. I got to know of Solstafir several years ago through Gudmundur's mother who had become a friend of mine via a blog site and we maintain our friendship on Facebook. Gummi (as he is also known) is also a very talented photographer and artist and responsible for much of Solstafir's artwork. He started the band 20 years ago with Addi (vocalist Adalbjorn Tryggvason) and poured his life's energy into keeping the band going. I have exchanged some personal comments with him on Flickr about his photographs and he has left a few comments on mine. But more so, his mother and I continue to be good friends over the Internet, and so when I saw the link to the Wordpress site she posted, I was deeply saddened to read what it said.

Though I had known about Solstafir for a few years, I hesitated to buy an album. I was certain that extreme metal, sludge, post metal, and any kind of screamo / aggro metal was not for me. But thanks to my interest in progressive rock and metal, I came around to purchasing albums by Mastadon, Anathema, and Baroness and liked many of the songs. Then Gummi's mom posted last autumn on Facebook about the band's latest album, Otta, and the concept so intrigued me that I thought it was time to buy a CD. For reasons that would make this preamble even longer were I too explain, my order was delayed and I only finally got the CD in the mail at the end of May this year.

On my first listen, I was surprised at how slow and sedate some of the music was. There were many atmospheric moments with strings and piano or simple repeated notes or chords or guitar effects that made this music easy on the ears. I read some reviews of the album and listened again. Yes, there was definitely an atmosphere here, something like the bare B&W misty landscape scene in the CD booklet. There was cold, and loneliness, and there was solitude and isolation. Yet there was warmth and at times energy and power.

I listened again and again, finding each time that I liked the album more and more. Addi's vocals are full of emotion and expression and not the screamo type or death growls that I thought I might hear. He can raise his voice to impassioned shouting when the music calls for it, but he can also squeeze emotion from his voice in tender places, too. I was and am reminded of Anathema at times and there's a bit of similarity to Baroness here and there. But I am struck with the overall impression that this is a beautiful album and great for listening to when one is in the mood. Though not very technical or complex, the songs seem to have been crafted more with the focus being on casting a mood. The concept of 'Otta' is eight songs, one for each of the eight three- hour time periods of the Old Norse day. My enjoyment of this album had me considering getting a hold of one or two other Solstafir albums and I still might do that, though perhaps this is Solstafir's penultimate release.

I do hope things work out between Gummi and the rest of the band, even though the best result may be in Gummi getting a fair deal in royalties for his contributions to the band in his artwork and drumming and then moving on. It is such a pity to read this sad news after I only just finally got a Solstafir album home. Unfortunately, the latest update on his site says things are as sour as ever and it has become time to stop falsely hoping for friendship to win over and call in the lawyers. Most unfortunate. But that is the music business, is it not?

 Ashes Against The Grain by AGALLOCH album cover Studio Album, 2006
3.83 | 186 ratings

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Ashes Against The Grain
Agalloch Experimental/Post Metal

Review by AndyJ

4 stars Agalloch's 'Ashes Against The Grain' is the third full-length studio album from the Portland metal band and is really quite a significant departure from the musical style developed on their previous album, 'The Mantle'. I remember listening to this album when it first came out, fully expecting a continuation of the folk-metal from their previous album, but instead hearing a far heavier record rooted firmly in the post-metal genre. The compositions are almost Isis or Cult Of Luna like at times, such is their heaviness.

Almost none of the folk-metal sound, which had been the bands trademark before, exists on this album. There is still a very unique Agalloch sound on this record - the black metal tremolo picking over the wall-of-sound sludgy guitars and the stark but effective drumming. But in 'Ashes' the clean vocals of John Haughm are entirely gone, almost all of the softer acoustic guitar moments are gone as well. The music is dense and, at times, stark. But the result is still as breathtaking as 'The Mantle', just in a different way. Instead of rehashing 'The Mantle', which is an album I consider to be the peak output for the band, Agalloch decided to take an entirely different route in 'Ashes'.

The compositions are long and full of suspense and build-up. The opening track alone has almost five minutes of build-up before Haughm's brilliant raspy vocals kick in. Every song on this album is a little bit different, but all rooted in a very heavy post-metal style. The focus is on the instruments and the musical progression rather than the vocals. There are very few lyrics on this album, and they only rarely intersect with the instrumental passages. Despite the density of the compositions there is a certain sense of freedom throughout this record. Haughm holds back on his voice enough to allow everyone in the band plenty of time to shine, and the result is that the vocal sections, when they do appear, are even more powerful for the listener and really grab your attention.

Every song on here is pure gold, none more so than the opening track 'Limbs' or the utterly epic three-part trilogy at the end of the record, 'Our Fortress Is Burning'. The second part of the trilogy in particular, 'Bloodbirds', gives me chills every time I hear it - the atmosphere is divine. That tremolo picking riff, first with the acoustic guitar and then with the distorted guitar is a work of genius. The final track as well is an amazing piece of electronic music, rooted in a style known as Musique Concrete.

On a bit of a side note when I studied Music at university I learned about an obscure technique used occasionally in electronic music known as granulation. This involves chopping up a stream of sound into tiny pieces, known as grains, and then rearranging them in semi-random order with overlapping between the different grains. This technique is a bit like cutting a film strip into tiny pieces, throwing them in the air and re-compositing them together in whatever order they fell and playing back the result. I mention this because the final track of the album has judicious use of this granulation technique, and its interesting to note that Agalloch knew of this technique and chose to apply it! Either that or their producer/engineer knew of the technique and talked them into using it on their record closer because it fits oh-so-well with their album title!

Final thoughts on this record are that I love it, its a work of art, brilliant compositions... But, for my worth, I still rate 'The Mantle' higher than this so I'll 'only' give it 4-stars. Seriously though, this is a brilliant album by one of the most creative and unique bands on the planet and should be heard by anyone even remotely interested in heavier progressive music... 4-stars!

 The Mantle by AGALLOCH album cover Studio Album, 2002
4.11 | 297 ratings

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The Mantle
Agalloch Experimental/Post Metal

Review by AndyJ

5 stars Agalloch's 'The Mantle' is one of the most perfect blending's of pastoral folk music and extreme metal I've ever heard - its also one of the most thoroughly depressing albums in my collection. This is not music for anyone feeling down or unhappy as it might just push you over the edge. The music is mournful and laden with sorrow, the vocals are emotional and the lyrics utterly bleak.

Musically what we have on 'The Mantle' is deeply atmospheric acoustic guitar driven music with a black metal edge. There are definitely a couple of songs on the record where the black metal style takes over almost entirely, but I wouldn't really call this album black/extreme metal - it has far more 'folky' acoustic moments than anything else. Not to mention that clean vocals dominate, and it is the extreme vocal style, which honestly aren't that extreme on this album, that are put to the side.

In many of the songs it is the acoustic guitar which leads the compositions, and the distortion guitar provides a textured background. Vocally John Haughm is absolutely spot-on in this record, both his raspy 'extreme' vocals and his clean voice are brilliantly executed. There are a great many highlights on this album, none more so than the third track, the instrumental 'Odal' or the lengthy instrumental 'The Hawthorne Passage'.

In many ways 'The Mantle' is the odd one out in the Agalloch discography. It is both totally unique from what came before, 'Pale Folklore', and what came afterwards, 'Ashes Against The Grain'. This is an album from a band not afraid to create a unique piece of art with each release, not caring how it would fit within their discography. It is also the only Agalloch album to feature a great many instrumental tracks, occupying 25 minutes of the total playtime.

Whilst I would say that 'Pale Folklore' and the albums after 'The Mantle' might only be suitable for fans of extreme metal I would definitely encourage any progressive rock fan to check out 'The Mantle'. Yes it does have some 'extreme' moments which might put you off, but there are also some really beautiful instrumental sections which I think might appeal. I'm reluctant to give too many albums a 5-star rating as it diminishes the significance of that rating, but with 'The Mantle' I can't think of any other rating. Easily their best work to-date and for my worth their only 5-star record. Unique, atmospheric and soulful. 5-stars.

 Distant Satellites by ANATHEMA album cover Studio Album, 2014
3.70 | 317 ratings

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Distant Satellites
Anathema Experimental/Post Metal

Review by Prog Leviathan
Prog Reviewer

3 stars Distant Satellites is another marvelous addition to Anathema's excellent library, although it repeats the winning formula that the group has used in the previous two albums. While it doesn't break new ground, it does succeed at creating a poignant and well-crafted experience.

The album opens in what now seems to be the band's distinctive sound: an sensitive, artistic, a driving melody that builds and builds to a rousing and cripplingly emotional climax. In this case, we begin at the end, as Cavanagh's lyrics tell the story of catharsis after meeting the spirit of a lost love. The response, by what I assume is the spirit, features singing by guest vocalist Lee Douglas, whose gorgeous voice will probably leave you in a puddle on the floor. This opening passage is Anathema playing it safe, but also playing to their strengths, and it leaves an impact

The songs that follow continue to float the listener on a sea of tidal emotions; rising and falling in equal measure as the two voices lament for their lost love. Many will find the lyrics somewhat trite and simple, but more will hear them as poetic and soulful, telling a story in a way that is ambiguous enough for the listener to project themselves into the emotions. This, I think, is one of the most powerful features of Anathema's songwriting; it creates feelings of empathy in the listener that hit harder than any other band in my library.

The band creates sounds that are lush a delicate, electric and modern. The instrumental moments peak on "Anathema", with an elegant but very powerful by guitarist Cavangh. For me, that standout songs are those which drift into the somewhat electronic and ambient; these songs aren't as epic as the rock tunes, but they change the tone and feel, contributing to variety on this otherwise pathos heavy album. Unfortunately, you probably won't remember much except for the melodies in "Lost Song".

Part of me is disappointed in Distant Satellites because it's so similar in theme, sound, and content to recent albums, but Anathema is so good at making this kind of music - which continues to have an effect on me - that I still enjoy the experience. If you know and like Anathema, you'll enjoy Distant Satellites, but it's not their best album by a long shot. In terms of production and performances it's faultless, but for me it's good but not essential because it accomplishes the same thing the band's other albums do, but not quite as well.

Songwriting: 3 - Instrumental Performances: 3 - Lyrics/Vocals: 4 - Style/Emotion/Replay: 4

 Z˛ by TOWNSEND, DEVIN album cover Studio Album, 2014
3.68 | 82 ratings

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Devin Townsend Experimental/Post Metal

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars Z² (short for Ziltoid 2; pronounced "Zed squared" or alternately Zee Two) is a combo pack from Mr DEVIN TOWNSEND but has been released in three different editions.

The jewel case edition (which i have) contains the two main albums: SKY BLUE and DARK MATTERS. The limited digipak edition contains the two main albums, a third CD that is DARK MATTERS without dialogue and extra artwork. The Japanese limited edition contains all of the above with a bonus "Loud Park" concert on DVD which was taken from a show in Saitama, Japan on October 2013.

OK. Let's get to the music. The two discs basically are sequels of previous albums. SKY BLUE is a collection of metallic dance pop tunes that basically continues the ideas that are presented on "Epicloud" only not quite as well IMHO. While all is pleasantly delivered in a trancy dancy fashion, it doesn't really expand the ideas in any particular way. This portion of the album is nice and all but really makes me just want to go back on listen to "Epicloud" which i found to be a very nice dance pop take in the metal world.

DARK MATTERS is the sequel for "Ziltoid The Omnisicient" which i believe is one of the best TOWNSEND projects he has yet put out. While the original was a one-man show (for the most part) this is a major production under the DEVIN TOWNSEND PROJECT. I very rarely like sequels and i have to say that this one seems particularly unnecessary. The whole thing feels forced and reminds me of one trick ponies that milk it for everything that can be milked. I feel the original ZILTOID idea was brilliant but really needed no further expansion. While the original was a really cute over-the-top musical production by DEVIN alone, this one seems like it was tweaked and stuffed with so many sounds and ideas that it explodes on itself. I mean, really what's the fascination with a Therion style symphonic embellishment complete with full choirs with a majorly unsatisfying expansion of the story around which the musical ideas gravitate. There is lots of borrowing of North American cartoons going on here. The narration reminds me of Rocky & Bullwinkle while the whole production reminds me of Dr Seuss' "How The Grinch Stole Christmas" goes Broadway. Their is a showtune approach to a whimsical idea that is devoid of enough substance for my gleeful consumption.

This is a bit disappointing as i was expecting a ZILTOID experience that delivered at least a partial experience of the first but the contrast between the over-production and weakness of the plot which dictates any musical development just leaves me wanting to go back and listen to the original which was surprisingly balanced. The Who's down in Who-ville liked Ziltoid a lot but the Grinch who loved Ziltoid, the sequel does not. It all feels contrived and forced and parts go on and on. Like Saturday Night Live sketches that were excellent for a one-time skit of whimsy, so was ZILTOID, but for such a project to be able to expand beyond its initial parameters requires more substance than what i find going on here. Overall, this isn't a horrible combo package but it doesn't feel like a necessary one either and i really hope there isn't a ZILTOID franchise in the making after hearing this. Heavy Devvy has many hits and misses of his career and in my world this one just feels lost and contrived by adding bombast without any substance to back it up.

 Ki (Devin Townsend Project) by TOWNSEND, DEVIN album cover Studio Album, 2009
3.84 | 264 ratings

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Ki (Devin Townsend Project)
Devin Townsend Experimental/Post Metal

Review by TCat
Prog Reviewer

4 stars For this album, DT's wall of sound comes down. This is a departure from Devin's usual sound. Previously, even on his slower songs, Devin's music has had that thick sound, a mix where every instrument is heard, but mixed evenly, it actually gives it a thick sound that doesn't quite seem in focus, but that is what made it so great and different. There was just something a little off kilter.

So now, on this album, that wall comes down, yet there is still that feeling that something is bubbling underneath the surface. Most of the songs on here are mellow, but there is still a lot of power and loudness too. It's just that now, things are more sparse. There is still no doubt that this is Devin though. There is a lot of excellent music on here, I mean real masterpiece material, but there is also some that just drifts on too long.

The album starts off strong and continues that way for the first 7 tracks. The main feeling that Devin was looking for here, other than the sparse mixing, was a lot of tension and release. This really gets utilized quite well for the first part of the album. Dynamics are used quite brilliantly, as is always the case with Townsend, whether that wall of sound is up or down. "Coast" is a great opener and it is obvious that there is a different sound here. "Disruptr" ups the ante even more and is a bit more heavy, but again, without the thickness. This one is more progressive than the first also, and you hear the genius of Townsend's compositional skills. "Gato" is a masterpiece also, and relies more on a hook, but what it does as it builds tension around that hook is amazing. Che Dorval is a guest vocalist on this album for 3 songs, and this one is the first. This one is a real tension builder and this is what Townsend is the best at. It will get your heart racing. I love how he uses Che to build the tension even thicker before he erupts with his angry vocals, by the time he gets there, you are ready to explode as he builds your emotions to this point. "Terminal" is the cool down, or release song that comes next. This one is a beauty.

Next is probably my favorite of the album, "Heaven Send". This one works off the same formula as "Gato" but even more effectively. It starts off much quieter and builds to a much higher climax, again using Che's vocals to build the tension which results in Devin's angry vocals again. This is such an amazing song, I love it. Again, following this is a tension release in the track "Ain't Never Gonna Win..." which is a shorter instrumental, and this works well as a cooling down period. This problem that happens here is that the same atmosphere continues into the song "Winter", which has vocals, but this tends to wander into a flatter performance which lacks in the emotion that we have come so accustomed to. The album tends to suffer at this point, but it seems there is a return to the fun when "Trainfire" starts. This time, Devin is going off in rockabilly territory with a song that was inspired by Elvis' "Mystery Train". Okay, so this sounds fun and the album picks up again. I love the way this starts, it actually has echoes of that wall of sound music that we are used to, but after the verses, which is about the halfway point of the song, the cooling down section starts prematurely. Hmmm....I appreciate that Devin wanted to not become predictable, and I admire him for that, but suddenly, almost all of the spirit is drained out of the song as it becomes minimalistic, almost sounding like Mark Knoppfler playing without any other instruments supporting him. Well, this meanders on for a while, then you get a slight build as Che sings again, and you start to think, here it comes again, that crazy emotion from Devin should start anytime, but then.....it doesn't. Che's vocals are excellent, but it is a let down all the same when nothing comes after it. What starts out as a perfect song just kind of dies.

Following this, there are no more peaks of angry emotion as before, but it's okay, because Devin is being Devin. The tracks "Lady Helen" and "Ki" are still beautiful masterpieces though. Very well written and with interesting melodic hooks, vocals and instrumentals. It is interesting, even without the wall of noise supporting Devin's vocals, that his voice is still just off kilter and out of focus, but strangely enough, we all love that about Devin, don't we? That's what makes his music so intriguing, it's like nothing else and it keeps us guessing, wondering when he will go off the edge. After this, the album ends a little weakly though, with just some okay tracks that don't offer a whole lot, but they are short at least.

All in all, this is a definite excellent addition to anyone's collection, even with it's weaknesses, there are some tracks that are masterpieces. Those songs by themselves are some of the best work that Townsend has done, and that makes me want to give the album 5 stars, but I can't because of the weaker tracks here. But you can't pass this up because the highs on this album are just amazing. Devin does his best work when he shows his anger and bares his emotions. It would be a shame to ignore this album though because of those few weaknesses, the high points of the album are not to be ignored. So, I have to give this 4 stars, but let it be known that some of my favorite tracks are also on this album. Get this one for the masterpieces scattered throughout the album. Is it a good entry point for those wanting to try out Townsend's music? Well in a way it is, just remember that it isn't typical of his usual heavy and thick sound, though you will get a little taste of it here.

 Into the Light by PROPHECY, THE album cover Studio Album, 2009
2.23 | 4 ratings

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Into the Light
The Prophecy Experimental/Post Metal

Review by AndyJ

2 stars The Prophecy's 'Into The Light' is the bands third full length studio album, released early in 2009. It gets off to a crushingly heavy, if a little boring start, with the opening track 'Into The Light'. Mid-way through this song the music calms and mellows, and softly sung vocals from Matt Lawson kick in. And unfortunately this is where the 'Into The Light' loses me every time... It's the same complaint I have with their previous release, 'Revelations' - I just don't think Matt Lawson is a particularly good clean vocalist. His death metal growl is passable and quite enjoyable, but his clean vocals are, dare I say it... painful to listen to!

I realise this is a bit damning, but with such a saturation of vocals on this album it's a make or break part of the listening experience. Vocals in any band tend to be a very subjective matter - what I consider painful someone else might find delightful. It's a matter of perspective. The music here is good, but there isn't the same atmosphere as on their first album, 'Ashes', nor the catchy guitar sections found on 'Revelations'. What you have on this album is very crushingly heavy doom metal played well, but its not ground-breaking, especially in 2009 when this record was released.

An interesting addition on this album is adding a cello to the mix, and getting rid of keyboards. Perhaps this was The Prophecy's answer to My Dying Bride's use of violin throughout their own career? Its a nice addition, and adds some different texture to the softer parts of the music and overall I think it adds to the music on offer here. There are a few exciting guitar parts, for example on the third track 'Don't Forget', however these guitar parts are quickly ruined by Matt Lawson bad singing over the top of them. There are also some beautiful mellow moments in this album, the fourth track 'Echoes' for example has a lovely moment of cello, bass and clean guitar, but it isn't allowed to develop and blossom on its own without vocals being laid on top of it. There are just too many vocals on this album - there are precious few moments where the music is given space to naturally develop and progress by itself.

I hate to be so negative when reviewing this album - I'm trying to be honest in my feelings and isn't that the point? The Prophecy are a band I like, I consider myself a fan, I love their debut album, and their second album is good also. But this is an album which gets very little attention from me. In all fairness this is probably somewhere between 2 and 3 stars, but if I gave 'Revelations' 3-stars, which I consider better than this, then unfortunately this one can only receive 2-stars. Though if you like their vocalist and his style this would probably be at least a 3-star album - so please don't let my negativity put you off!!

 Revelations by PROPHECY, THE album cover Studio Album, 2007
3.09 | 2 ratings

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Revelations
The Prophecy Experimental/Post Metal

Review by AndyJ

3 stars The Prophecy's 'Revelations' is the British doom bands 2007 follow up album to their excellent 2003 debut 'Ashes'. The Prophecy continue down the path emotionally charged progressive doom laid down on their first album, and in 'Revelations' we find a more refined band with a stronger identity of their own. Musically the band are more creative in this album, there are far more softer parts, complete with orchestral arrangements and a lot more cleanly sung vocal sections. In 'Ashes' the predominant vocal style is raspy death metal, but on 'Revelations' the band aren't afraid to sing cleanly and mix things up a little bit.

Sounds great, right? Unfortunately the clean vocals of Matt Lawson just aren't that convincing. When reviewing progressive doom metal you can't help but think about My Dying Bride, the daddies of the genre. When I compare Matt Lawson to My Dying Bride vocalist, Aaron Stainthorpe, I find the former lacking in range and dare I say it, talent. Matt Lawson's death metal vocals, which are few and far between on this album are respectable, but his cleanly sung vocals are hit-and-miss. Some sections sound good, some sections are rather excruciating for the listener, and detract from the music here.

There are some wonderful musical arrangements and themes on this album. The opening guitar section of 'Odyssey' is fantastic. There are plenty of very memorable guitar riffs and moments through-out this rather long (almost 70 minute) album. The guitar solo in 'Revelations' is delightful with a great tone and simple, but entertaining melodic structure. There are twists and turns and dynamic changes throughout the record.

I would suggest this is a good album, but for whatever reason I've always preferred 'Ashes' to this one, despite the fact that 'Revelations' feels more refined with a stronger identity. I can only put it down to the clean vocals on this album which I feel detract from the excellent instrumental music present on this record. If this album had really strong clean vocals I think it would be a 4-star album without problem, but as it stands 3-stars is as much as I can offer.

 Kalyug by NINTH MOON BLACK album cover Singles/EPs/Fan Club/Promo, 2010
4.00 | 2 ratings

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Kalyug
Ninth Moon Black Experimental/Post Metal

Review by Insin

4 stars Following their debut album, Ninth Moon Black released Kalyug, an instrumental EP including both ambient and post-metal passages. Like most quality post-rock, it's atmospheric, bringing a dark, desolate, and at times almost mournful feeling into the music, all at once spacey, apocalyptic, and futuristic... without the use of keyboards. The songs have a good progression and flow to them, smoothly evolving and shifting from heavy to ambient.

As the album moves along, the songs grow in length, Causatum introducing a main musical theme that seems like it could have been expanded upon, Harbringer a largely ambient piece that reminds of the opening song of A Silver Mt Zion's debut, based on a simple piano line and dominated by samples. The final two tracks are dedicated to showcasing the NMB's post-rock mastery, picking up the pace and depending less on atmosphere and more on the dynamics and natural-sounding ebb and flow the song.

Kalyug is also a concept piece, incorporating slightly distorted spoken word samples into the ambient sections. The speaker talks about the loss of spirituality and the "de-evolution" of mankind, an interesting concept and definitely one that fits with NMB's post-metal, post-apocalyptic sound. Traditionally, a band writes the lyrics themselves and includes them in a more musical way, through singing or screaming or whatnot. NMB has cheated a little by relying solely on samples from someone else, but other clean vocals don't seem like they would fit on this EP, leaving only harsh. I've always found that concept albums with harsh vocals are pointless anyway ? why would you put so much effort onto lyrics if no one can understand what you're saying anyway? In the end, the spoken word is fairly clear and easy to understand, and probably a better option than the others.

NMB has crafted a dark, apocalyptic EP, an atmosphere encouraged by the nature of Kalyug's concept. Each song, especially the last two, flow and shift expertly, firmly rooted in the territory of post-rock and post-metal while also bringing some ambient workings into the equation.

Definitely a quality EP. And the cover art is cool too.

 Ashes by PROPHECY, THE album cover Studio Album, 2003
4.00 | 2 ratings

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Ashes
The Prophecy Experimental/Post Metal

Review by AndyJ

4 stars The Prophecy's 'Ashes' is the first studio album by the British progressive doom band, and is probably their finest and most enjoyable release. This is a record I discovered entirely by accident when it was first released back in 2003 and it has since become a firm favourite of mine. In fact I was really rather surprised to find no reviews for this on the prog archives, and only a single rating! But The Prophecy have always been rather an unknown and overlooked band, which I find to be such a shame as their music is extremely enjoyable and well crafted.

The Prophecy have always been massively over-shone by the daddies of doom metal, My Dying Bride. Like MDB, The Prophecy feature gloomy music, laced with gothic tones, thick atmosphere and deeply textured musical landscapes constructed from heavily distorted guitars and moody keyboards.

On 'Ashes' there are plenty of raspy tortured vocals, like all good doom records should have! But there are clean vocals as well, spoken passages, soft acoustic guitar and lots of musical variation throughout. Make no mistake, this is definitely progressive music. The tracks are long and leave plenty of room for musical progression and transformation. The heavy parts of the music are crushingly heavy and the softer parts of the music are gentle and melancholic, and above all overwhelmingly depressing! This is not an album to listen to if you are feeling down!

I have a lot of praise for this album - but having said that in 'Ashes' we do find the band struggling a little bit for their own identity in places. This is an album from a band still finding its feet and discovering their own style - something which they do find on later releases. The reason I say this is that the inclusion of the fifth track, 'Blackened Desire', adds very little to this album and would have been better off staying unrecorded. It just doesn't fit with the rest of the music here. You sense that this track was one of their early demo songs and they felt at this point in their career it was a worthy inclusion on the album. The problem I have with 'Blackened Desire' is that it's not progressive, and is just a straight-forward black metal song. It doesn't really have any place here with these other pieces of music.

But, there are a lot of excellent moments on this record, and it deserves to be listened to as a whole piece of music. Stand-out tracks are 'Killing Fields', 'Dawn' and 'Till Light Enshrouds'. I'd recommend this album to anyone who enjoys the work of My Dying Bride, though tracking down this album might be difficult! Definitely a 4-star record, despite the few identity issues it has.

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Experimental/Post Metal bands/artists list

Bands/Artists Country
11 AS IN ADVERSARIES France
19 A.D.D. United States
21 EYES OF RUBY Netherlands
THE 3RD AND THE MORTAL Norway
413 United States
5IVE United States
6:33 France
A((WAKE)) United States
AABSINTHE France
ABANDON Sweden
ABYSSE France
ACROSS TUNDRAS United States
ACYL France
ADMIRAL BROWNING United States
ADRIFT Spain
AFTER MY OWN United States
AGALLOCH United States
AGES GONE Germany
AKPHAEZYA France
AKROMA France
ALASKAN Canada
ALCEST France
ALTAR OF PLAGUES Ireland
AMARA United States
AMBEON Netherlands
AMENRA Belgium
AMESOEURS France
AMIA VENERA LANDSCAPE Italy
ANATHEMA United Kingdom
ANCESTORS United States
AND HARMONY DIES Italy
ANGEL EYES United States
ANTIGUA Y BARBUDA Spain
ANTIMATTER Multi-National
ANUBI Lithuania
APOCALIPSIS Mexico
APOCRYPHAL VOICE Finland
APOKATASTASIA Switzerland
APSE United States
ARCADE MESSIAH United Kingdom
THE ARKITECHT Mexico
ARKTIKA Germany
AS LIGHT DIES Spain
ASIDEFROMADAY France
ASPIRATION Norway
ASTROHENGE United Kingdom
ASTRONAUT DOWN United States
AT THE SOUNDAWN Italy
THE ATLAS MOTH United States
THE ATOMIC BOMB AUDITION United States
ATROX Norway
AUSSITÔT MORT France
THE AXIS OF PERDITION United Kingdom
AZIOLA CRY United States
BACK WHEN United States
BAK Australia
BARONESS United States
BAT CASTLE United States
BATTLE OF MICE United States
BATTLEFIELDS United States
BAUDA Chile
BEAK United States
BEECHER United Kingdom
BEFORE THE EYEWALL United States
BEHIND THE SUN Israel
BEING United States
ADRIAN BENAVIDES United States
BIRUSHANAH Japan
BISON B.C. Canada
BLACK MATH HORSEMAN United States
BLACK SEA Brazil
BLACK SHEEP WALL United States
BLACKWAVES Germany
BLINDEAD Poland
BLOOD & TIME United States
BLUT AUS NORD France
BOBEL Costa Rica
BOSSK United Kingdom
BOTANIST United States
BRIDGES TO DREAMS Canada
BUNKUR Netherlands
BURIED INSIDE Canada
BURN DOWN ROME United Kingdom
BUTTERFLY TRAJECTORY Poland
CAINA United Kingdom
CALDERA France
CALLISTO Finland
THE CANCER CONSPIRACY United States
CANDIRIA United States
CAPRICORNS United Kingdom
CAPTURE THE SUN United States
CARNIVAL IN COAL France
CARONTTE Spain
CATACOMBE Portugal
CAVE IN United States
CELEBRITY SEX SCANDAL United States
CELESTINE Iceland
CHASE THE SUNSET United Kingdom
THE CHRONICLES OF ISRAFEL Canada
CHRYST Austria
THE CIRCLE ENDS HERE Italy
CIRUELO CILINDRICO Spain
CLERIC United States
CLOUDKICKER United States
COALESCE United States
COLD BODY RADIATION Netherlands
A COLD DEAD BODY Italy
COLDWORLD Germany
COME SLEEP Sweden
COMITY France
CONIFER United States
CONSECRATION Serbia
CORMORANT United States
COSMONAUTS DAY Russia
COUNTERVELA Ireland
CRIB45 Finland
CULT OF LUNA Sweden
D.U.N.E. Italy
DAKRYA Greece
DAMASCUS United States
DARK CASTLE United States
DARK SUNS Germany
DARKESTRAH Germany
DARKSPACE Switzerland
DAUGHTERS OF FISSION United States
DAY WITHOUT DAWN United States
DE OMEGA United States
DEADBIRD United States
DEADSOUL TRIBE United States
DEAFHEAVEN United States
THE DEATH OF HER MONEY United Kingdom
DECORTICA New Zealand
DEEP IN THOUGHT Germany
DETERIOR United States
DEVIL SOLD HIS SOUL United Kingdom
DIESTO United States
DIGRESSION ASSASSINS Sweden
DIRGE France
DISAPPEARER United States
DIVINA ENEMA Belarus
DŘDSVERK Norway
DORNENREICH Austria
DOTZAUER Italy
DR. SLAGGLEBERRY United Kingdom
DRAWN Norway
DREARINESS Italy
DYING SUN United States
EARTH United States
EAST OF THE WALL United States
EBONY LAKE United Kingdom
ECHOES United Kingdom
ECHOES OF YUL Poland
ECHOSILENCE Estonia
EGOIST Poland
EHNAHRE United States
EIGHT BELLS United States
EINNA France
ELLIPSIS France
EMPIRES United States
EMPTY YARD EXPERIMENT United Arab Emirates
ENDER New Zealand
ENDNAME Russia
EPHEL DUATH Italy
EPISTASIS United States
ETERNAL DEFORMITY Poland
ETHERSENS France
EVIL INSIDE Spain
EX CURIA Australia
EXOTIC ANIMAL PETTING ZOO United States
EXTINCTION ALGORITHM Romania
FALL OF EFRAFA United Kingdom
FALLOCH United Kingdom
FALLS OF RAUROS United States
FEN United Kingdom
FLEURETY Norway
FLOOD THE DESERT United States
FOLLOW THE WHITE RABBIT Russia
A FOREST OF STARS United Kingdom
FORMLOFF Norway
FOUNTAINHEAD Germany
FROM OCEANS TO AUTUMN United States
FUTURIAN Canada
THE GABRIEL CONSTRUCT United States
GANON United States
GARDEN OF SHADOWS United States
GARY SUICIDAL KIDS COMMANDO France
THE GATHERING Netherlands
GENERATION OF VIPERS United States
GENGHIS TRON United States
GIANT SQUID United States
GIGANTIC BRAIN United States
GIRE Hungary
GLETSCHER Switzerland
GNAW THEIR TONGUES Netherlands
GODSEND Norway
GONIN-ISH Japan
GORDIAN KNOT United States
GOSPEL United States
THE GRASSHOPPER LIES HEAVY United States
GRAVITON United States
GRAYCEON United States
THE GREAT OLD ONES France
GREEN CARNATION Norway
HAIKU FUNERAL Multi-National
HAIL SPIRIT NOIR Greece
HALCYON Australia
HAMMERS OF MISFORTUNE United States
HAND United Kingdom
HARVEY MILK United States
HEIRS Australia
HELLAS MOUNDS United States
HERETOIR Germany
HIPOSPADIA Spain
HUMANFLY United Kingdom
HYDRA Mexico
HYPNO5E France
IDENTIFIED United States
IDIOT SAINT CRAZY France
THE ILLNESS United States
IN THE WOODS... Norway
IN.OVO Canada
INCOMING CEREBRAL OVERDRIVE Italy
INDUKTI Poland
INTER ARMA United States
INTRONAUT United States
IO United Kingdom
ION United States
IREPRESS United States
IRONWOOD Australia
IRREVERSIBLE United States
ISIS United States
ISTHMUS United States
IZAH Netherlands
JAKEL Canada
JANVS Italy
JESU United Kingdom
JEWY SABATAY Serbia
OLIVER KAAH Finland
KAILASH Italy
KALKI AVATARA Italy
KARABOUDJAN Sweden
KEELHAUL United States
KEKAL Indonesia
KHANATE United States
KHEMEĎA France
KHOMA Sweden
KHUDA United Kingdom
KICK THE BUTTERFLY Australia
KINGDOM Belgium
KLABAUTAMANN Germany
KOLLWITZ Norway
KONG Netherlands
KONGH Sweden
KOSMOGRAD Canada
KRAKOW Norway
KRUGER Switzerland
KYLESA United States
LANDFORGE United Kingdom
LANTLOS Germany
LATITUDES United Kingdom
LEFT BRAIN United States
LENTO Italy
LESBIAN United States
LIGHT BEARER United Kingdom
LITHIUM DAWN United States
LÖBO Portugal
LOOK TO WINDWARD New Zealand
LORUS United States
LUDICRA United States
LYE BY MISTAKE United States
MADE OUT OF BABIES United States
MAHESH Chile
MAMMOTH New Zealand
MANATEES United Kingdom
MANDIBULBE France
MANES Norway
MANUSCRIPTS DON'T BURN Italy
MAR DE GRISES Chile
MARE United States
THE MASS United States
THE MATTERHORN PROJECT United States
MAUDLIN Belgium
MAUDLIN OF THE WELL United States
MEMORIES OF A DEAD MAN France
MENISCUS Australia
MINDFOLD EXPRESS Bulgaria
MINSK United States
MIOSIS Sweden
THE MIRE United Kingdom
MIRRORTHRONE Switzerland
MISANTHROFEEL Russia
MOD FLANDERS CONSPIRACY United States
MOLOKEN Sweden
MOMENTUM Iceland
MONDRIAN OAK Italy
MONUMENTUM Italy
MORAINES Croatia
MORNE United States
THE MORNINGSIDE Russia
MORTIFERIA Norway
MOSE GIGANTICUS United States
MOSKAU Germany
MOUNTAINS BECAME MACHINES United Kingdom
MOUTH OF THE ARCHITECT United States
MUTYUMU Japan
MY SILENT WAKE United Kingdom
MYSTER MOBIUS Multi-National
MYSTIC Netherlands
NAHEMAH Spain
NAHRAYAN Spain
NANDA DEVI United States
NATIONAL SUNDAY LAW United States
NAUTICUS Finland
NEBRA Switzerland
NERO DI MARTE Italy
NEUMA Poland
NEUROSIS United States
NIHIL Serbia
NINTH MOON BLACK United States
NO MADE SENSE United Kingdom
NOCTIS Australia
NOEKK Germany
NORTH United States
NOVEMBRE Italy
NUCLEUS TORN Switzerland
OBSIDIAN KINGDOM Spain
THE OCEAN DOESN'T WANT ME South Africa
THE OCEAN Germany
OCOAI United States
OHGOD! South Africa
THE OLD DEAD TREE France
OLD MAN GLOOM United States
OMB Israel
THE OMEGA EXPERIMENT United States
OMEGA MASSIF Germany
ORANSSI PAZUZU Finland
ORDO DRACONIS Netherlands
ŘRKENKJŘTT Norway
ORPHANED LAND Israel
ORTHODOX Spain
OSI United States
OSTROVA Spain
THE OTHER SIDE OF THE SKY United States
OUTOPSYA Italy
OVERMARS France
PAN.THY.MONIUM Sweden
PANOPTICON United States
THE PAX CECILIA United States
PECCATUM Norway
PELICAN United States
PET SLIMMERS OF THE YEAR United Kingdom
PIKE Sweden
PINKLY SMOOTH United States
THE POSTMAN SYNDROME United States
PRISMA Switzerland
PROGHMA-C Poland
THE PROPHECY United Kingdom
PRYAPISME France
PSYCHOFAGIST Italy
PSYKUP France
PYRAMIDS United States
QUALEACEANS United Kingdom
QUARANTADUE Italy
QUBE Poland
QUESTIONER United States
RADAR Finland
RADIATION 4 United States
RAIN DELAY Serbia
RAINROOM Finland
RAXINASKY Belgium
RED PAPER DRAGON United Kingdom
REFRACTION Ireland
THE REPTILIANS United States
RETURNING WE HEAR THE LARKS United Kingdom
ROSETTA United States
ROUTE NINE Sweden
RWAKE United States
RYOKUCHI Japan
SAL Y MILETO Ecuador
SALVICTION Poland
SANNHET United States
SCHIZOID LLOYD Netherlands
SCORCHED SHORE United States
SECONDSKIN United Kingdom
SENMUTH Russia
SENSUAL NOISE Belgium
SEPIA DREAMER Sweden
SEVEN United States
SEVEN NAUTICAL MILES Sweden
SEVENTH EVIDENCE / KA.MMEN Ukraine
SHELS United States
SHELTER RED United States
SHELVING Switzerland
SHEPHERDS OF CASSINI New Zealand
SHRINEBUILDER United States
SIGH Japan
SIKA REDEM United Kingdom
SISARE Finland
SKAGOS Canada
SKEWED SKIES Germany
SLEEP MAPS United States
SLEEPING IN GETHSEMANE United States
SMALLMAN Bulgaria
SMOHALLA France
SNOWBLOOD United Kingdom
SO IS THE TONGUE United States
SOEN Multi-National
SOLSTAFIR Iceland
SONS OF ALPHA CENTAURI United Kingdom
SPRING & YOUTH Serbia
STANDING OVATION Finland
STATS United States
STEAK NUMBER EIGHT Belgium
A STORM OF LIGHT United States
SUBROSA United States
SUBTERRANEAN MASQUERADE Multi-National
SUFFOCATE FOR FUCK SAKE Sweden
SUMAC Multi-National
SUNPOCRISY Italy
SUPERCONTINENT United States
THE SUSPENDED CONGRESS Ireland
SWARM OF THE LOTUS United States
A SWARM OF THE SUN Sweden
SWITCH OPENS Sweden
TACOMA NARROWS BRIDGE DISASTER United Kingdom
TARANTULA HAWK United States
TELEPATHY United Kingdom
TEMPEL United States
TENOCHTITLAN Russia
TEPHRA Germany
TERRA TENEBROSA Sweden
TESA Latvia
TETRAFUSION United States
THANATOSCHIZO Portugal
THENCE Finland
THORDENDAL'S SPECIAL DEFECTS Sweden
THY CATAFALQUE Hungary
TIDES United States
TIDES FROM NEBULA Poland
TIME ZERO United States
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