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

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

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

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

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


Post Metal

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

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

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

Variations of Post-metal

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

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

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

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


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

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

Experimental/Post Metal Top Albums


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

4.22 | 1382 ratings
LATERALUS
Tool
4.22 | 659 ratings
PART THE SECOND
Maudlin Of The Well
4.33 | 122 ratings
IMAGINARY SONICSCAPE
Sigh
4.26 | 173 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.19 | 606 ratings
TERRIA
Townsend, Devin
4.19 | 307 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.16 | 651 ratings
JUDGEMENT
Anathema
4.16 | 541 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.18 | 283 ratings
BATH
Maudlin Of The Well
4.16 | 256 ratings
IN A FLESH AQUARIUM
Unexpect
4.13 | 350 ratings
THE MANTLE
Agalloch
4.19 | 138 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult of Luna
4.13 | 315 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.46 | 39 ratings
FEA JUR
Lye By Mistake
4.09 | 824 ratings
NIMA
Tool
4.11 | 308 ratings
FABLES OF THE SLEEPLESS EMPIRE
Unexpect
4.40 | 44 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.12 | 243 ratings
PANOPTICON
Isis
4.07 | 568 ratings
ALTERNATIVE 4
Anathema
4.08 | 313 ratings
MABOOL - THE STORY OF THE THREE SONS OF SEVEN
Orphaned Land
4.16 | 111 ratings
THE PAINTER'S PALETTE
Ephel Duath
4.05 | 853 ratings
WE'RE HERE BECAUSE WE'RE HERE
Anathema
4.14 | 121 ratings
SOL NIGER WITHIN
Thordendal's Special Defects, Fredrik
4.06 | 328 ratings
THE DEVIN TOWNSEND BAND: SYNCHESTRA
Townsend, Devin
4.23 | 62 ratings
WRITTEN IN WATERS
Ved Buens Ende
4.06 | 245 ratings
S.U.S.A.R.
Indukti
4.02 | 858 ratings
WEATHER SYSTEMS
Anathema
4.11 | 121 ratings
OMNIO
In The Woods...
4.14 | 89 ratings
SUSPENDED ANIMATION DREAMS
Subterranean Masquerade
4.06 | 188 ratings
OCEANIC
Isis
4.16 | 72 ratings
SOULS AT ZERO
Neurosis
4.52 | 23 ratings
MYSTER MBIUS
Myster Mbius
4.02 | 279 ratings
CAILLES DE LUNE
Alcest
4.02 | 194 ratings
WAVERING RADIANT
Isis
4.33 | 31 ratings
THE LOCUST YEARS
Hammers of Misfortune
4.23 | 39 ratings
A SHADOWPLAY FOR YESTERDAYS
Forest Of Stars, A
3.97 | 292 ratings
OCEAN MACHINE - BIOMECH
Townsend, Devin
4.26 | 35 ratings
THE GALILEAN SATELLITES
Rosetta
4.07 | 79 ratings
PREHISTORICISMS
Intronaut
4.14 | 52 ratings
THE MALEDICTION FIELDS
Fen
3.96 | 316 ratings
DEVIN TOWNSEND PROJECT: EPICLOUD
Townsend, Devin
3.96 | 267 ratings
OFFICE OF STRATEGIC INFLUENCE
OSI
4.28 | 29 ratings
TOUNDRA III
Toundra
4.62 | 15 ratings
ELIL
Fall of Efrafa
3.93 | 390 ratings
DEVIN TOWNSEND PROJECT: DECONSTRUCTION
Townsend, Devin
3.98 | 140 ratings
EPOCH
Fen
3.98 | 127 ratings
IF_THEN_ELSE
Gathering, The
4.18 | 37 ratings
HAIL HORROR HAIL
Sigh
4.71 | 12 ratings
DEPARTURE SONGS
We Lost the Sea
3.90 | 522 ratings
A NATURAL DISASTER
Anathema
3.92 | 226 ratings
THE DEVIN TOWNSEND BAND: ACCELERATED EVOLUTION
Townsend, Devin
3.93 | 197 ratings
MARROW OF THE SPIRIT
Agalloch
4.29 | 24 ratings
ABSOLUTE ZERO
Tetrafusion
3.99 | 87 ratings
LEAVING EDEN
Antimatter
4.15 | 35 ratings
UNDERSTANDING CONSEQUENCES
Day Without Dawn
3.94 | 140 ratings
NIGHTTIME BIRDS
Gathering, The
3.96 | 107 ratings
VERTIKAL
Cult of Luna
3.99 | 82 ratings
A SUN THAT NEVER SETS
Neurosis
4.46 | 16 ratings
TERRAFORMING
Postman Syndrome, The
4.10 | 40 ratings
PAINTING ON GLASS
3rd And The Mortal, The
3.95 | 120 ratings
PELAGIAL
Ocean, The
4.16 | 32 ratings
TűNő IDő TRLAT
Thy Catafalque
4.80 | 10 ratings
VORTEX
Toundra
3.98 | 82 ratings
PRECAMBRIAN
Ocean, The
4.79 | 10 ratings
BAR-DO TRAVEL
Proghma-C
4.11 | 38 ratings
SEA OF THE DYING DHOW
*Shels
4.02 | 58 ratings
TEETHED GLORY AND INJURY
Altar of Plagues
4.79 | 10 ratings
KENTUCKY
Panopticon
3.92 | 151 ratings
GORDIAN KNOT
Gordian Knot
4.13 | 33 ratings
MANTIIS
Obsidian Kingdom
3.89 | 279 ratings
THE NEVER ENDING WAY OF ORWARRIOR
Orphaned Land
4.39 | 17 ratings
DEAD AS DREAMS
Weakling
4.41 | 16 ratings
MELANCHOLIE
ColdWorld
4.02 | 53 ratings
HEART OF THE AGES
In The Woods...
4.00 | 57 ratings
COGNITIVE
Soen
4.02 | 50 ratings
RENGETEG
Thy Catafalque
4.20 | 25 ratings
THE RITUAL FIRES OF ABANDONMENT
Minsk
3.95 | 79 ratings
ANTHROPOCENTRIC
Ocean, The
4.06 | 41 ratings
BLESSED ARE THE BONDS
Pax Cecilia, The
3.91 | 131 ratings
SOUVENIRS D'UN AUTRE MONDE
Alcest
4.22 | 23 ratings
TOUNDRA II
Toundra
4.09 | 35 ratings
SELENELION
Vaura
3.94 | 84 ratings
THE EYE OF EVERY STORM
Neurosis
4.15 | 27 ratings
CARHEART
Virus
3.84 | 840 ratings
10,000 DAYS
Tool
4.08 | 34 ratings
OPPORTUNISTIC THIEVES OF SPRING
Forest Of Stars, A
4.01 | 46 ratings
PLAINS OF THE PURPLE BUFFALO
*Shels
4.27 | 19 ratings
CENOTES
Giant Squid
3.88 | 161 ratings
HOW TO MEASURE A PLANET ?
Gathering, The
3.85 | 313 ratings
DEVIN TOWNSEND PROJECT: ADDICTED
Townsend, Devin
4.26 | 19 ratings
NOIR
Callisto
3.87 | 171 ratings
MANDYLION
Gathering, The
3.93 | 76 ratings
OI MAGOI
Hail Spirit Noir
3.95 | 60 ratings
THE BEES MADE HONEY IN THE LION'S SKULL
Earth
3.87 | 137 ratings
THE ACOUSTIC VERSES
Green Carnation
3.92 | 78 ratings
EXISTENCE
Dark Suns
3.84 | 302 ratings
DEVIN TOWNSEND PROJECT: KI
Townsend, Devin
3.83 | 460 ratings
A FINE DAY TO EXIT
Anathema
4.94 | 7 ratings
KAI PILNATIES AKIS UZMERKS MIRTIS
Anubi
3.96 | 54 ratings
THE IMAGINARY DIRECTION OF TIME
Winds

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

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Cancer Conspiracy, The
AND BLOOD WAS PASSION
Zebulon Pike
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Sika Redem

Latest Experimental/Post Metal Music Reviews


 Continuum by SONS OF ALPHA CENTAURI album cover Studio Album, 2018
3.95 | 2 ratings

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Continuum
Sons Of Alpha Centauri Experimental/Post Metal

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars UK band SONS OF ALPHA CENTAURI was formed back in 2001, at the onset a duo consisting of Nick Hannon and Marlon King. They appeared as recording artists in 2007, and while active as recording artists after this as well, this has mainly been in various forms of collaborations and side projects. "Continuum" is the band's second full length studio production, and was released through Herman label H42 Records in the spring of 2018.

I see the self-description of this band citing them as something of an avantgarde and post-metal oriented band. Those with a taste for artists of that particular nature may well find that Sons of Alpha Centuari, at least as they appear in 2018, are a few tracks away from such territories, and then the avantgarde aspect of it in particular. There's not much I'd describe as being post metal here either when it comes to that. Instrumental progressive rock is probably where I'd categorize this band and this specific album myself.

In the main compositions here the band tends to alternate between two distinct modes of delivery. One features relatively gently wandering and often plucked guitar details as the key element, and the other is dominated by darker toned riffs, at times with a gnarly, almost primitive sound at that. In both cases relatively delicate, floating keyboards will be used as overlays, and then more often than not with a cold, subtly cosmic tinge to it.

In between those contrasts we do get quite a few variations and deviations of course, with tasteful guitar solo runs as well as more effects laden guitar details as well as a bass guitar that gets some booming, beefy limelight here and there as well. The songs tend to ebb and flow nicely in intensity, either building up to a more intense finale or going full circle and concluding on a similar note as the opening part of the track. By plan or accident there's a case to be made here on the hypnotic effects of repetition too, and one might also argue that a couple of the cuts here have a stoner rock and a post-punk vibe to them respectively.

There's also a few atmospheric laden cuts to be enjoyed here, although for my sake they are by and large not as interesting as individual creations, functioning primarily as parts of an album experience as far as I'm concerned. The one exception is the opening cut 'Into the Abyss', but that may well be due to this one reminding me ever so slightly of late 70's Eloy, which for me is a good thing.

While I do find this album to be a well made production throughout, my main impression is that this will also be an album with something of a niche appeal. A tad too primitive sounding at times to make a broad headway into the progressive rock oriented crowd, and arguably a tad too sophisticated to gather a strong appeal among those with a primary taste for instrumental hard rock that is borderline metal at times. Still, those with a taste for instrumental progressive rock that exist within those parameters should find this album to be a compelling experience. A good album, but with something of a limited reach in my opinion at least.

 Z by TOWNSEND, DEVIN album cover Studio Album, 2014
3.81 | 131 ratings

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Z
Devin Townsend Experimental/Post Metal

Review by TCat
Prog Reviewer

4 stars What we have here is not necessarily a double album as much as it is two albums together in one package. The first album is titled "Sky Blue" and it is the 6th in a series of albums under the moniker of The Devin Townsend Project. This is a series of releases where each album was supposed to have a distinct feel and style. So this one does have another style, but it harkens back somewhat to earlier albums in the series. Many have compared it to "Addicted" which was the usual Devin sound but in a more pop sounding vein than usual. So, you got some driving, danceable beats behind the usual multi-layered guitars, keyboards and vocals that create the distinct wall of sound Devin is famous for. "Sky Blue" however, while it seems to lean towards this direction, is not as poppy. It may seem like it is going that way at first, with the very upbeat yet heavy "Rejoice", the perfect way to open the album. But, as the album progresses, it becomes more progressive. By the time you get to track 4, "A New Reign", you notice that there is nothing very poppy about it anymore. But, the real beauty of a song actually comes right before this one, "Midnight Sun". This song is simply beautiful, strong, atmospheric and spacey. Because it is more of a ballad than a rock song, it makes the real differences in this album sneak up on you. You will start to notice that this album is more ambient sounding than what "Addicted" was, but the real terms to describe this is atmospheric, spacious and lush. Unfortunately, the shortcoming for the album is that Devin's vocals are not as emotional as "Addicted" or other albums. Anneke also sings on this album on most tracks, but not as much as a soloist as someone singing in tandem with Devin. So this does bring some texture to Devin's lower register, which he tends to stay in more often. As you move closer to the middle of the album, this tends to get a little monotonous, and you start to actually lose interest. The one highlight in this part of the album is "Silent Militia", which is a welcome hard rock relief to what was becoming mundane. This is one where Devin starts to show his emotion, and you get a little more screaming here, which actually is the dynamic I was craving for at this point. Once you get to "Forever", things get better, because this is actually part of a suite that comprises the last three songs. The beauty returns, even if this is a quieter track, you start to hear some interesting harmonies, and you feel things building to what will be an amazing climax in the middle of "Before We Die". By now, you have an excellent use of the multi layered vocals on the part of both Devin and Anneke, so you have what actually sounds like full choir, and also by now, you feel that amazing uplifting feeling that you get with many DT songs. The first and the last part of this album saves the entire collection. Only the middle part of the album tends to lag, but the rest is definitely worth it.

The second album in this double set is called "Dark Matters" and it serves as a sequel to the "Ziltoid" album. On the Ziltoid album, DT played all of the instruments and sang all the vocals. This time, you get a lot of vocalists playing parts of the characters. This is a much louder album, pretty much all the way through, with only breaks here and there that serve to advance the story through narration and characterization. Now you get even more progressive rock, heavy metal and emotional vocals that you are more accustomed to with Devin. The story itself is quite hilarious. It is an over the top, satirical take on Science Fiction. The songs here are definitely louder than the first disc, but they are also more dramatic because of the nature of the story. Almost cinematic. You'll be listening to parts that sound like black metal with screaming vocals and suddenly you have a choir of voices singing. And even with such a silly story, you still get that "uplifted" feeling that you get when listening to emotional music. The best way to listen to this is with the lyrics, because you won't be able to follow the story any other way. The narration is easy enough to understand usually, but the parts that are sung by the characters will be hard to understand. Once you have heard it a few times though, you might tire of hearing the story and just listen to the music. DT thought about this and made a dialog free version of Z2 which is available in the Collector's Edition of the album.

Overall, there are some weak points, but it's still a great pair of albums. Not necessarily to masterpiece status, both together sporting many strong songs and aspects, but also having some weak parts too, but not enough to give the package a status of less than 4 stars. Not the best way to enter the DT discography, but great enough for those that are familiar with his music already.

 Devin Townsend Project: Addicted by TOWNSEND, DEVIN album cover Studio Album, 2009
3.85 | 313 ratings

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Devin Townsend Project: Addicted
Devin Townsend Experimental/Post Metal

Review by TCat
Prog Reviewer

4 stars Under the name of The Devin Townsend Project, DT set out to do a series of 6 albums where the line up would change on each album and the overall sound or style of each album would also change. Another reason to love Devin, his versatility, but at the same time, he is cohesive in each individual outing. This was the 2nd album in this series. This time he was going with a poppier, danceable sound. That was a scary thought. Well, you can relax because he got that sound, but he did it very loudly! Immediately, you know it's Devin. You get his usual multi tracked guitars and keyboards to create that heavy metal wall of sound he is famous for. No, it's not noise, it's music. I don't know of very many artists that can achieve this as well as what Devin does.

The initial track comes barreling at you full force. A hard driving beat that makes your feet want to get up and dance and a crushing riff with Devin melodically screaming his lungs out. If this one doesn't get your blood rushing, you are already dead. There is no better way to start off an album, and you get a good idea of what Devin's intention was here, amazing melodic, hard and heavy rock that is infectious at the same time. "Universe in a Ball" is the next track and it also has a hard driving beat, but you get more of a progressive feel with this one. "Bend it Like Becker" stays exciting and hard with that continuing wall of sound and this is the first time that you hear Anneke's lead vocals on this particular album. She shares lead vocal duties with Devin throughout this album. She gives a more melodic feel to Devin's emotionally charged singing, and this is all combined into that massive wall of sound. You get a short break from that in the next track "Supercruisin'" with Anneke leading the vocals again and then everything comes crashing together again. This is an amazing track and goes down as one of Devin's best with plenty of prog present, but hard and still melodic.

"Hyperdrive" is a bit weaker, but still good. It is the same song that's on the first "Ziltoid" album, but made more accessible with Anneke's voice. "Resolve" however is powerful with both vocalists complimenting each other. Devin is at his screaming best here and Anneke is at her melodic best with what sounds like a chorus of demons behind them mixed into the sound. Amazing track. There is a sudden break in the wall of sound again on "Ih-Ah", and this time Devin sings in his best soft rock voice all of a sudden. Then towards the middle, things intensify a little as the two leads harmonize like you would never believe, and then Devin continues again. Yes, this is one of DT's softer and maybe even commercial songs, but it's still excellent. Totally unexpected.

"The Way Home" has a rapid fire beat that you would expect to hear in a Tech Metal song, but the melody and Devin's singing is quite mellow at first, but it builds up that wall of sound piece by piece, but it is melodic and emotional all the way through. "Numbered" starts out with a typical Devin riff, then Anneke's voice comes in all multi-layered. This one has a great driving guitar riff with a rhythm to match. Dev sings the verses and Anneke sings the choruses with a choir of her own harmonized voices. This one makes a great rock anthem. The last track "Awake" is the longest at over 9 minutes. It turns into quite an emotional yet loud song as it progresses, and soon Devin's growling and dirty vocals come in, staying melodic all through and easily sliding back to clean vocals while the music stays heavy without even blinking. Only Devin does this transition so well. Anneke sings the choruses again on this one. But they are at their strongest when they sing together. Simply amazing.

This album overall is excellent, there are only a few low points where the songs come to close to being too radio friendly, but they are shorter songs and don't ruin the enjoyment of this album. This is not quite the masterpiece that some of his other albums are, but don't let that stop you from getting this one if you love the hard and heavy, yet very emotional, music of Devin Townsend. This might be a good gateway album for people interested in entering to explore DT's excellent discography. Don't let the fact that Devin does scream and growl, because he can do it so melodically you almost don't realize he is doing it, and it only adds to his music like you wouldn't believe. It makes it so much more emotional. But, the only way you can truly appreciate his voice and his music is to listen to it. His music has plenty of progressiveness in it, this album is more on the melodic side, but it still doesn't disappoint . I can easily call this one an excellent addition to your collection, not necessarily his best and not a masterpiece, but still excellent.

 The Devin Townsend Band: Accelerated Evolution by TOWNSEND, DEVIN album cover Studio Album, 2003
3.92 | 226 ratings

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The Devin Townsend Band: Accelerated Evolution
Devin Townsend Experimental/Post Metal

Review by TCat
Prog Reviewer

4 stars Accelerated Evolution was the first album that was released by The Devin Townsend Band. Previous albums by Devin were named as solo albums. This album was recorded at the same time as the Strapping Young Lad album (Another Devin Project of extreme metal) of the same year. AE was supposed to be the polar opposite of the SYL album. Even though this album is more listener friendly than the SYL album and most of DT's other albums, it still has plenty of explosive riffs and emotional sound. You still have Devin's Wall of Sound made with multi-layered guitars and keyboards. However, you can still notice a difference in the intensity here. There is also a lot less use of progressive elements in order to make the music more accessible. Devin does this well without compromising his signature sound too much. DT was praised by the critics in that he was able to do this so well.

Even with things a little more listener friendly, there is still plenty to love on this album and it is still a worthwhile addition to DT's discography. Devin still has an extreme amount of passion in his voice, which I love. Many people think this is screaming, but there is a difference here because you can hear Devin's passion in his music, and it moves me every time. I typically don't like screaming or growling vocals, but I love the sound that Devin gets from his voice, and like I said, it resemble passion more that just mere yelling and screaming, plus there is a lot of musicality when he reaches his extremes of his voice. Don't worry though if this scares you a bit, there is a lot more clean vocals on this album, and that still doesn't take away from his passion.

The album starts out with "Depth Charge" which is a very upcharges track, very similar to his usual style, and immediately you don't notice any changes. This is an amazing song that introduces you to his signature sound and is one of the more progressive songs on the album. Next, on "Storm", you hear a slight lift on the wall of noise sound, but there is still plenty of passion, even though his voice is clean now. This one builds and then explodes near the end, and the intensity is so high at the end that it almost brings tears to my eyes. After that, the track "Random Analysis" has a steady beat that goes through most of the song. This one to me is not as interesting in that it really offers not much change from start to finish and it doesn't stick with me so much.

The tone turns darker now as the feeling of "Deadhead" approaches a hard but slower beat, almost blues style but not quite. This gives us a nice change of pace to make sure things stay interesting. DT's voice is a lower register here, and things stay very interesting throughout this piece as it leads into a sort of psychedelic feel with layered vocals before it returns to the main theme again. This is followed by "Suicide" which remains dark but is driven by a harder beat and an amazing guitar riff that also drives the song. I love this one.

"Traveller" is more of a radio friendly song and doesn't really do much for me. "Away" comes next, and almost seems to segue from the previous track, so you think maybe things are going to sound same-y here, but this develops into something beautiful and flowing, somewhat similar to "Deep Peace" from the "Terria" album, but not quite the same. It is mostly instrumental, but has some subdued vocals deep in the mix. You notice now that somewhere along the way, the wall of sound is gone most of the time now, but there still is an intensity. "Sunday Afternoon" is also a beautiful track, more atmospheric and relaxing, yet still intense. "Slow Me Down" is just too typical MOR almost and I tend to lose interest in it before it's over. Even though the 2nd half of the album still has plenty of highlights, it does tend to lose some strength here which might get better after repeated listens.

The special edition of the album included a 3-track EP entitled "Project EKO". This is a completely different style from the regular album in that it is electronica done by Devin Townsend. This is nothing like anything he has done prior to this, but he will explore more of in the future. "Locate" has a steady mid tempo beat throughout with a short section with vocals mixed at a lower volume. Nothing much really happens here, just what sounds like some electronic noodling and etc. "Echo" is a little more interesting with some spoken word samples mixed in here and there. The rhythm is a more driving beat with some more traditional sounds put in to make it sound more authentic. The melodies over the top of the rhythm are more interesting that the previous track. "Assignable" is the last track. This one has a boring and repetitive rhythm track and a sort of psychedelic riff happening on top. Sort of like early Porcupine Tree instrumentals, but less interesting.

Overall , the main album is interesting especially on the first half. The second half is the more mellow side, but still has plenty on it to keep it interesting. Interest seems to wear thin though when things tend to get too accessible. Not a perfect album for DT, but still a great effort. I feel comfortable enough to give it 4 stars, mostly on the merit of the high points of the album. I am not counting in the EP as part of the rating because on it's own, it doesn't really do much for me, and it was added as a bonus and not part of the album.

 Moths To The Flame by ASTRONAUT DOWN album cover Studio Album, 2010
3.15 | 4 ratings

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Moths To The Flame
Astronaut Down Experimental/Post Metal

Review by TenYearsAfter

3 stars "FIRST REVIEW OF THIS ALBUM"

Astronaut Down is a new New York based five piece band that released her concept debut CD entitled God's Eye in 2006. According to the liner notes in the information sheet 'the music of Astronaut Down strives to achieve a balance between the depth and complexity of progressive metal, and the accessible energy of mainstream rock. Intricate polyrhythms and ambitious song structures coexist with memorable melodies and subtly-evolving thematic progressions, all delivered with conviction and unmistakable vitality. Their influences range from old school progressive rock to contemporary technical metal, from melodic punk to post-hardcore. Astronaut Down plays new progressive rock, focusing on the composition, with a dynamic range of material that appeals to a wide range of listeners. The key is balance, whether carefully unfolding an elaborate instrumental passage, or delivering an anthemic chorus'. Well, that sounds pretty welcoming, to say the least!

During my first listening sessions I quickly notice a huge dynamic in the ten tracks. Astronaut Down easily and frequently shifts from dreamy with warm vocals and twanging guitars to heavy metal and prog metal with blistering guitars and thunderous drums. A few songs even contain grungy vocals, like Colossus and Our Greatest Mistake. At some moments the music reminds me of Swedish progrock formation Anekdoten (but without Mellotrons) during the more compelling parts (like in Starfall). And the composition Dissection evokes King Crimson due to the repetetive guitar work. Although the emphasis in Astronaut Down their music is on a more heavy and bombastic sound, we can enjoy some wonderful mellow interludes.

An atmospheric final part in Interlude.

A warm conclusion featuring duo acoustic guitar and pleasant vocals in Our Greatest Mistake.

And a dreamy climate with sensitive piano, vocals and acoustic guitar and a fragile guitar solo in de final track Moths (Part 2).

I have to say that I am not up to the more 'aggressive' parts of Astronaut Down their music. But I am impressed the way they have found a balance between mellow and heavy music. Personally I would add keyboards in order to colour the music a bit more, but that is very subjective. Also because I am from the Old Progrock School and a vintage keyboard freak. Nonetheless, if you are a proghead who likes 'hard and heavy with a mellow touch', this is an album to check out.

My rating: 3,5 star.

 The Invasion Discography by GIGANTIC BRAIN album cover Studio Album, 2004
1.50 | 2 ratings

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The Invasion Discography
Gigantic Brain Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

2 stars "The Invasion Discography" is a compilation album by US, Virginia based experimental grindcore act Gigantic Brain. The album was released through Razorback Records in July 2004. Gigantic Brain was formed by John Brown in the early years of the millenium, and was at this point a one-man act. "The Invasion Discography" is a compilation featuring all material recorded by John Brown up until then.

The music on "The Invasion Discography" is one crazy mix of blasting grindcore, electronic effects/samples, programmed drums, assorted types of extreme vocals, and a futuristic sci-fi atmosphere. Most tracks are between a half minute to 1 minute long and with 63 tracks distributed over a 59:16 minutes long playing time there is a lot to dig into. The sound production is obviously created on a home computer, and while its fairly well sounding for that type of production, its clearly not a professionally produced product.

The music is quite adventurous with many shifts in style and genre within each track, but they are also rather chaotic and fragmented. So its definitely not a boring release, but its not exactly the most well written one either, if you appreciate memorability. This sounds a lot like its written and recorded to satisfy John Brown rather than to cater for an audience. Its highly experimental and the more "regular" sounding grindcore parts are always followed by an atmospheric ambient part or something more experimental sounding.

Upon conclusion "The Invasion Discography" is probably very much an aquired taste. Some listeners will probably enjoy the crazy sci-fi concept, the home recording idea, and embrace the fragmented experimental grindcore style, while others will miss a bit more conscise and memorable songwriting, and a professional sound production. Personally I lean towards the latter opinion and a 2.5 star (50%) rating is warranted.

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

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Written In Waters
Ved Buens Ende Experimental/Post Metal

Review by Luqueasaur

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

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

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

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

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

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

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

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Scenes From Hell
Sigh Experimental/Post Metal

Review by Warthur
Prog Reviewer

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

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Clearing the Path to Ascend
YOB Experimental/Post Metal

Review by Warthur
Prog Reviewer

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

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

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

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Resilience
Smohalla Experimental/Post Metal

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

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

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

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

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

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

Data cached

Experimental/Post Metal bands/artists list

Bands/Artists Country
*SHELS United States
11 AS IN ADVERSARIES France
19 A.D.D. United States
21 EYES OF RUBY Netherlands
THE 3RD AND THE MORTAL Norway
413 United States
5IVE United States
6:33 France
A LOST STATE OF MIND United States
A((WAKE)) United States
AABSINTHE France
ABANDON Sweden
ABYSSE France
ACROSS TUNDRAS United States
ACYL France
ADMIRAL BROWNING United States
ADRIFT Spain
AFTER MY OWN United States
AGALLOCH United States
AGES GONE Germany
AKPHAEZYA France
AKROMA France
ALASKAN Canada
ALCEST France
ALTAR OF PLAGUES Ireland
AMARA United States
AMATERAZU Portugal
AMBEON Netherlands
AMENRA Belgium
AMESOEURS France
AMIA VENERA LANDSCAPE Italy
ANATHEMA United Kingdom
ANCESTORS United States
AND HARMONY DIES Italy
ANGEL EYES United States
ANTIGUA Y BARBUDA Spain
ANTIMATTER Multi-National
ANUBI Lithuania
AORIA Sweden
APOCALIPSIS Mexico
APOCRYPHAL VOICE Finland
APOKATASTASIA Switzerland
APSE United States
ARCADE MESSIAH United Kingdom
THE ARKITECHT Mexico
ARKTIKA Germany
AS LIGHT DIES Spain
ASIDEFROMADAY France
ASPIRATION Norway
ASTROHENGE United Kingdom
ASTRONAUT DOWN United States
AT THE SOUNDAWN Italy
THE ATLAS MOTH United States
ATMOSPHERES Belgium
THE ATOMIC BOMB AUDITION United States
ATROX Norway
AUSSITT MORT France
AUSTARAS United States
THE AXIS OF PERDITION United Kingdom
AZIOLA CRY United States
BACK WHEN United States
BAK Australia
BARONESS United States
BAT CASTLE United States
BATTLE OF MICE United States
BATTLEFIELDS United States
BAUDA Chile
BEAK United States
BEECHER United Kingdom
BEFORE THE EYEWALL United States
BEHIND THE SUN Israel
BEING United States
ADRIAN BENAVIDES United States
BIRUSHANAH Japan
BISON B.C. Canada
BLACK MATH HORSEMAN United States
BLACK SEA Brazil
BLACK SHEEP WALL United States
BLACKWAVES Germany
BLINDEAD Poland
BLOOD & TIME United States
BLUT AUS NORD France
BOBEL Costa Rica
BOSSK United Kingdom
BOTANIST United States
BRAIN TENTACLES United States
BRIDGES TO DREAMS Canada
BUNKUR Netherlands
BURIED INSIDE Canada
BURN DOWN ROME United Kingdom
BURWEED Finland
BUTTERFLY TRAJECTORY Poland
CAINA United Kingdom
CALDERA France
CALLISTO Finland
THE CANCER CONSPIRACY United States
CANDIRIA United States
CAPRICORNS United Kingdom
CAPTURE THE SUN United States
CARNIVAL IN COAL France
CARONTTE Spain
CATACOMBE Portugal
CAVE IN United States
CELEBRITY SEX SCANDAL United States
CELESTINE Iceland
CHASE THE SUNSET United Kingdom
THE CHRONICLES OF ISRAFEL Canada
CHRYST Austria
THE CIRCLE ENDS HERE Italy
CIRUELO CILINDRICO Spain
CLERIC United States
CLOUDKICKER United States
COALESCE United States
COLD BODY RADIATION Netherlands
A COLD DEAD BODY Italy
COLDWORLD Germany
COME SLEEP Sweden
COMITY France
CONIFER United States
CONSECRATION Serbia
CORMORANT United States
COSMONAUTS DAY Russia
COUNTERVELA Ireland
CRIB45 Finland
CULT OF LUNA Sweden
D.U.N.E. Italy
DAKRYA Greece
DAMASCUS United States
DARK CASTLE United States
DARK SUNS Germany
DARKESTRAH Germany
DARKSPACE Switzerland
DAUGHTERS OF FISSION United States
DAY WITHOUT DAWN United States
DE OMEGA United States
DEADBIRD United States
DEADSOUL TRIBE United States
DEAFHEAVEN United States
THE DEATH OF HER MONEY United Kingdom
DECORTICA New Zealand
DEEP IN THOUGHT Germany
DEFYING Poland
DETERIOR United States
DEVIL SOLD HIS SOUL United Kingdom
DIESTO United States
DIGRESSION ASSASSINS Sweden
DIRGE France
DISAPPEARER United States
DIVINA ENEMA Belarus
DDSVERK Norway
DORNENREICH Austria
DOTZAUER Italy
DR. SLAGGLEBERRY United Kingdom
DRAWN Norway
DREARE Czech Republic
DREARINESS Italy
DYING SUN United States
EARTH United States
EAST OF THE WALL United States
EBONY LAKE United Kingdom
ECHOES United Kingdom
ECHOES OF YUL Poland
ECHOSILENCE Estonia
EGOIST Poland
EHNAHRE United States
EIGHT BELLS United States
EINNA France
ELLIPSIS France
EMPIRES United States
EMPTY YARD EXPERIMENT United Arab Emirates
ENDER New Zealand
ENDNAME Russia
EPHEL DUATH Italy
EPISTASIS United States
ETERNAL DEFORMITY Poland
ETHERSENS France
EVIL INSIDE Spain
EX CURIA Australia
EX EYE United States
EXOTIC ANIMAL PETTING ZOO United States
EXTINCTION ALGORITHM Romania
FALL OF EFRAFA United Kingdom
FALLOCH United Kingdom
FALLS OF RAUROS United States
FEN United Kingdom
FIRMAM3NT Spain
FLEURETY Norway
FLOOD THE DESERT United States
FOLLOW THE WHITE RABBIT Russia
A FOREST OF STARS United Kingdom
FORMLOFF Norway
FOUNTAINHEAD Germany
FROM OCEANS TO AUTUMN United States
FUTURIAN Canada
THE GABRIEL CONSTRUCT United States
GANON United States
GARDEN OF SHADOWS United States
GARY SUICIDAL KIDS COMMANDO France
THE GATHERING Netherlands
GENERATION OF VIPERS United States
GENGHIS TRON United States
GIANT SQUID United States
GIGANTIC BRAIN United States
GIRE Hungary
GLETSCHER Switzerland
GNAW THEIR TONGUES Netherlands
GODSEND Norway
GONIN-ISH Japan
GORDIAN KNOT United States
GOSPEL United States
THE GRASSHOPPER LIES HEAVY United States
GRAVITON United States
GRAYCEON United States
THE GREAT OLD ONES France
GREEN CARNATION Norway
HAIKU FUNERAL Multi-National
HAIL SPIRIT NOIR Greece
HALCYON Australia
HAMMERS OF MISFORTUNE United States
HAND United Kingdom
HARVEY MILK United States
HEIRS Australia
HELIUM HORSE FLY Belgium
HELLAS MOUNDS United States
HERETOIR Germany
HIPOSPADIA Spain
HUMANFLY United Kingdom
HVOSCH Russia
HYDRA Mexico
HYPNO5E France
IDENTIFIED United States
IDIOT SAINT CRAZY France
THE ILLNESS United States
IN THE WOODS... Norway
IN.OVO Canada
INCOMING CEREBRAL OVERDRIVE Italy
INDUKTI Poland
INTER ARMA United States
INTRONAUT United States
IO United Kingdom
ION United States
IREPRESS United States
IRONWOOD Australia
IRREVERSIBLE United States
ISIS United States
ISTHMUS United States
IZAH Netherlands
JAKEL Canada
JANVS Italy
JESU United Kingdom
JEWY SABATAY Serbia
OLIVER KAAH Finland
KAILASH Italy
KALKI AVATARA Italy
KARABOUDJAN Sweden
KEELHAUL United States
KEKAL Indonesia
KHANATE United States
KHEMEA France
KHOMA Sweden
KHUDA United Kingdom
KICK THE BUTTERFLY Australia
KINGDOM Belgium
KLABAUTAMANN Germany
KOLLWITZ Norway
KONG Netherlands
KONGH Sweden
KOSMOGRAD Canada
KRAKOW Norway
KRUGER Switzerland
KYLESA United States
LANDFORGE United Kingdom
LANTLOS Germany
LATITUDES United Kingdom
LEFT BRAIN United States
LENTO Italy
LESBIAN United States
LIGHT BEARER United Kingdom
LITHIUM DAWN United States
LBO Portugal
LOOK TO WINDWARD New Zealand
LORUS United States
LOTUS THIEF United States
LUDICRA United States
LYE BY MISTAKE United States
MADE OUT OF BABIES United States
MAHESH Chile
MAMMOTH New Zealand
MANATEES United Kingdom
MANDIBULBE France
MANES Norway
MANUSCRIPTS DON'T BURN Italy
MAR DE GRISES Chile
MARE United States
THE MASS United States
THE MATTERHORN PROJECT United States
MAUDLIN Belgium
MAUDLIN OF THE WELL United States
MEANDERING MINE Germany
MEMORIES OF A DEAD MAN France
MENISCUS Australia
MINDFOLD EXPRESS Bulgaria
MINSK United States
MIOSIS Sweden
THE MIRE United Kingdom
MIRRORTHRONE Switzerland
MISANTHROFEEL Russia
MOANAA Poland
MOD FLANDERS CONSPIRACY United States
MOLOKEN Sweden
MOMENTUM Iceland
MONDRIAN OAK Italy
MONUMENTUM Italy
MORAINES Croatia
MORNE United States
THE MORNINGSIDE Russia
MORTIFERIA Norway
MOSE GIGANTICUS United States
MOSKAU Germany
MOUNTAINS BECAME MACHINES United Kingdom
MOUTH OF THE ARCHITECT United States
MUTYUMU Japan
MY SILENT WAKE United Kingdom
MYSTER MBIUS Multi-National
MYSTIC Netherlands
NAHEMAH Spain
NAHRAYAN Spain
NANDA DEVI United States
NATIONAL SUNDAY LAW United States
NAUTICUS Finland
NAUTILUS Norway
NEBRA Switzerland
NERO DI MARTE Italy
NEUMA Poland
NEUROSIS United States
NEVBORN Switzerland
NIHIL Serbia
NINTH MOON BLACK United States
NO HOME FOR HEROES Australia
NO MADE SENSE United Kingdom
NOCTIS Australia
NOEKK Germany
NORTH United States
NOVEMBRE Italy
NUCLEUS TORN Switzerland
OBSIDIAN KINGDOM Spain
THE OCEAN DOESN'T WANT ME South Africa
THE OCEAN Germany
OCOAI United States
OHGOD! South Africa
THE OLD DEAD TREE France
OLD MAN GLOOM United States
OMB Israel
THE OMEGA EXPERIMENT United States
OMEGA MASSIF Germany
OOOOOOOOOO France
ORANSSI PAZUZU Finland
ORDO DRACONIS Netherlands
RKENKJTT Norway
ORPHANED LAND Israel
ORTHODOX Spain
OSI United States
OSTROVA Spain
THE OTHER SIDE OF THE SKY United States
OUTOPSYA Italy
OUTRUN THE SUNLIGHT United States
OVERMARS France
XX XX France
PAN.THY.MONIUM Sweden
PANOPTICON United States
THE PAX CECILIA United States
PECCATUM Norway
PELICAN United States
PET SLIMMERS OF THE YEAR United Kingdom
PIKE Sweden
PINKLY SMOOTH United States
THE POSTMAN SYNDROME United States
PRISMA Switzerland
PROGHMA-C Poland
THE PROPHECY United Kingdom
PRYAPISME France
PSYCHOFAGIST Italy
PSYKUP France
PYRAMIDS United States
QUALEACEANS United Kingdom
QUARANTADUE Italy
QUBE Poland
QUESTIONER United States
RADAR Finland
RADIATION 4 United States
RAIN DELAY Serbia
RAINROOM Finland
RAXINASKY Belgium
RED PAPER DRAGON United Kingdom
REFRACTION Ireland
THE REPTILIANS United States
RETURNING WE HEAR THE LARKS United Kingdom
RIVIERE France
ROSETTA United States
ROUTE NINE Sweden
RWAKE United States
RYOKUCHI Japan
SAL Y MILETO Ecuador
SALVICTION Poland
SANNHET United States
SCHIZOID LLOYD Netherlands
SCORCHED SHORE United States
SECONDSKIN United Kingdom
SENMUTH Russia
SENSUAL NOISE Belgium
SEPIA DREAMER Sweden
SEVEN United States
SEVEN NAUTICAL MILES Sweden
SEVENTH EVIDENCE / KA.MMEN Ukraine
SHELTER RED United States
SHELVING Switzerland
SHEPHERDS OF CASSINI New Zealand
SHRINEBUILDER United States
SIGH Japan
SIKA REDEM United Kingdom
SISARE Finland
SKAGOS Canada
SKEWED SKIES Germany
SKUGGSJ Norway
SLEEP MAPS United States
SLEEPING IN GETHSEMANE United States
SMALLMAN Bulgaria
SMOHALLA France
SNOWBLOOD United Kingdom
SO IS THE TONGUE United States
SOEN Multi-National
SOLSTAFIR Iceland
SONS OF ALPHA CENTAURI United Kingdom
SPACEKING Russia
SPRING & YOUTH Serbia
STALINGRAD Spain
STANDING OVATION Finland
STARE AT THE CLOUDS Australia
STATS United States
STEAK NUMBER EIGHT Belgium
A STORM OF LIGHT United States
SUBROSA United States
SUBTERRANEAN MASQUERADE Multi-National
SUFFOCATE FOR FUCK SAKE Sweden
SUMAC Multi-National
SUNPOCRISY Italy
SUPERCONTINENT United States
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