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EXPERIMENTAL/POST METAL

A Progressive Rock Sub-genre


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Experimental/Post Metal definition



Experimental Progressive Metal

Experimental progressive metal is a sub-genre of progressive metal characterized by the incorporation of innovative, eclectic elements, large-scale experimentation and the use of non-standard and unconventional sounds, instruments, song structures, playing styles, and vocal techniques. Experimentation in the music is a major criteria to define the genre where artists often add unique elements to the overall sound, while progressive metal usually has more focus on traditional metal instrumentation and higher levels of technical complexity.

It's nearly impossible to pinpoint the exact origin of Experimental Progressive Metal since experimentation is common in all music genres. Still it is clear that experimentation in the progressive metal sub-genre has slowly but steadily grown in popularity ever since its humble beginnings in the early 1980s.

Just like any other style, Experimental Progressive Metal has a few defining moments that have changed the rules for its sub-genre for years to come. Two of such moments are the releases of the debut album by MR.BUNGLE of August 1991 and its iconic follow up "Disco Volante" of 1995. MR BUNGLE became notorious for their heavy sound and mid-song shifts of musical style. The band has later spawned an array of established avant-garde side projects such as FANT‘MAS, SECRET CHIEFS 3 and ESTRADASPHERE but also inspired new Experimental Metal acts to take the music scene to new heights.
Another crucial artist in the development of Experimental Progressive Metal was the leading Avant Metal band of the 80s, CELTIC FROST. Their eclectic mix of Thrash, Doom, Symphonic and Goth Metal created a dark theatrical mystique that became a major influence among the experimental Extreme Metal bands of the 90s such as MY DYING BRIDE, ULVER, ARCTURUS among others. These bands served as an important source of inspiration for the experimental movement within extreme metal.

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

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

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

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


Post Metal

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

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

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

Variations of Post-metal

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

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

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

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


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

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

Experimental/Post Metal Top Albums


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

4.22 | 1326 ratings
LATERALUS
Tool
4.22 | 643 ratings
PART THE SECOND
Maudlin Of The Well
4.35 | 113 ratings
IMAGINARY SONICSCAPE
Sigh
4.28 | 166 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.20 | 593 ratings
TERRIA
Townsend, Devin
4.18 | 530 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.16 | 637 ratings
JUDGEMENT
Anathema
4.19 | 293 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.59 | 35 ratings
FEA JUR
Lye By Mistake
4.18 | 263 ratings
BATH
Maudlin Of The Well
4.16 | 338 ratings
THE MANTLE
Agalloch
4.16 | 252 ratings
IN A FLESH AQUARIUM
Unexpect
4.13 | 308 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.18 | 135 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult of Luna
4.12 | 302 ratings
FABLES OF THE SLEEPLESS EMPIRE
Unexpect
4.09 | 793 ratings
∆NIMA
Tool
4.43 | 40 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.09 | 555 ratings
ALTERNATIVE 4
Anathema
4.11 | 234 ratings
PANOPTICON
Isis
4.09 | 298 ratings
MABOOL - THE STORY OF THE THREE SONS OF SEVEN
Orphaned Land
4.07 | 320 ratings
THE DEVIN TOWNSEND BAND: SYNCHESTRA
Townsend, Devin
4.05 | 837 ratings
WE'RE HERE BECAUSE WE'RE HERE
Anathema
4.54 | 26 ratings
TűNő IDő TŃRLAT
Thy Catafalque
4.14 | 114 ratings
SOL NIGER WITHIN
Thordendal's Special Defects, Fredrik
4.14 | 107 ratings
THE PAINTER'S PALETTE
Ephel Duath
4.16 | 84 ratings
SUSPENDED ANIMATION DREAMS
Subterranean Masquerade
4.06 | 241 ratings
S.U.S.A.R.
Indukti
4.02 | 837 ratings
WEATHER SYSTEMS
Anathema
4.07 | 180 ratings
OCEANIC
Isis
4.06 | 189 ratings
WAVERING RADIANT
Isis
4.10 | 117 ratings
OMNIO
In The Woods...
4.18 | 67 ratings
SOULS AT ZERO
Neurosis
4.03 | 273 ratings
…CAILLES DE LUNE
Alcest
4.58 | 21 ratings
MYSTER M÷BIUS
Myster Mobius
4.20 | 58 ratings
WRITTEN IN WATERS
Ved Buens Ende
4.00 | 256 ratings
OFFICE OF STRATEGIC INFLUENCE
OSI
4.28 | 35 ratings
A SHADOWPLAY FOR YESTERDAYS
Forest Of Stars, A
4.18 | 50 ratings
THE MALEDICTION FIELDS
Fen
3.99 | 304 ratings
DEVIN TOWNSEND PROJECT: EPICLOUD
Townsend, Devin
3.99 | 280 ratings
OCEAN MACHINE - BIOMECH
Townsend, Devin
4.35 | 28 ratings
THE LOCUST YEARS
Hammers of Misfortune
4.73 | 14 ratings
ELIL
Fall of Efrafa
4.08 | 76 ratings
PREHISTORICISMS
Intronaut
4.01 | 121 ratings
IF_THEN_ELSE
Gathering, The
4.25 | 32 ratings
THE GALILEAN SATELLITES
Rosetta
3.94 | 384 ratings
DEVIN TOWNSEND PROJECT: DECONSTRUCTION
Townsend, Devin
3.99 | 138 ratings
EPOCH
Fen
4.02 | 81 ratings
LEAVING EDEN
Antimatter
4.11 | 46 ratings
COGNITIVE
Soen
3.94 | 215 ratings
THE DEVIN TOWNSEND BAND: ACCELERATED EVOLUTION
Townsend, Devin
3.97 | 133 ratings
NIGHTTIME BIRDS
Gathering, The
4.36 | 21 ratings
ABSOLUTE ZERO
Tetrafusion
4.18 | 34 ratings
UNDERSTANDING CONSEQUENCES
Day Without Dawn
4.01 | 77 ratings
A SUN THAT NEVER SETS
Neurosis
4.51 | 15 ratings
TERRAFORMING
Postman Syndrome, The
4.04 | 57 ratings
TEETHED GLORY AND INJURY
Altar of Plagues
3.96 | 104 ratings
VERTIKAL
Cult of Luna
4.10 | 40 ratings
PAINTING ON GLASS
3rd And The Mortal, The
4.24 | 25 ratings
TOUNDRA III
Toundra
4.16 | 32 ratings
MANTIIS
Obsidian Kingdom
4.79 | 10 ratings
KENTUCKY
Panopticon
3.91 | 190 ratings
MARROW OF THE SPIRIT
Agalloch
3.98 | 76 ratings
PRECAMBRIAN
Ocean, The
3.92 | 148 ratings
GORDIAN KNOT
Gordian Knot
4.09 | 37 ratings
SEA OF THE DYING DHOW
shels
4.41 | 16 ratings
MELANCHOLIE≤
ColdWorld
3.88 | 312 ratings
DEVIN TOWNSEND PROJECT: GHOST
Townsend, Devin
3.87 | 508 ratings
A NATURAL DISASTER
Anathema
3.93 | 113 ratings
PELAGIAL
Ocean, The
4.02 | 50 ratings
HEART OF THE AGES
In The Woods...
4.12 | 32 ratings
OPPORTUNISTIC THIEVES OF SPRING
Forest Of Stars, A
4.11 | 33 ratings
SELENELION
Vaura
3.88 | 268 ratings
THE NEVER ENDING WAY OF ORWARRIOR
Orphaned Land
3.90 | 153 ratings
HOW TO MEASURE A PLANET ?
Gathering, The
4.03 | 45 ratings
RENGETEG
Thy Catafalque
3.91 | 127 ratings
SOUVENIRS D'UN AUTRE MONDE
Alcest
4.79 | 9 ratings
BAR-DO TRAVEL
Proghma-C
4.78 | 9 ratings
ACID MIST TOMORROW
Hypno5e
4.24 | 21 ratings
AFFLICTION XXIX II MXMVI
Blindead
4.40 | 15 ratings
DEAD AS DREAMS
Weakling
3.88 | 165 ratings
MANDYLION
Gathering, The
3.94 | 80 ratings
THE EYE OF EVERY STORM
Neurosis
4.27 | 19 ratings
CENOTES
Giant Squid
3.86 | 301 ratings
DEVIN TOWNSEND PROJECT: ADDICTED
Townsend, Devin
3.84 | 810 ratings
10,000 DAYS
Tool
4.14 | 26 ratings
CARHEART
Virus
4.01 | 44 ratings
PLAINS OF THE PURPLE BUFFALO
shels
4.26 | 19 ratings
NOIR
Callisto
3.93 | 75 ratings
ANTHROPOCENTRIC
Ocean, The
3.97 | 55 ratings
THE BEES MADE HONEY IN THE LION'S SKULL
Earth
3.93 | 75 ratings
OI MAGOI
Hail Spirit Noir
3.88 | 135 ratings
THE ACOUSTIC VERSES
Green Carnation
3.84 | 291 ratings
DEVIN TOWNSEND PROJECT: KI
Townsend, Devin
3.83 | 447 ratings
A FINE DAY TO EXIT
Anathema
3.92 | 77 ratings
EXISTENCE
Dark Suns
4.24 | 18 ratings
THE HABIT OF FIRE
Kekal
3.96 | 54 ratings
THE IMAGINARY DIRECTION OF TIME
Winds
3.85 | 207 ratings
ASHES AGAINST THE GRAIN
Agalloch
4.20 | 20 ratings
THE RITUAL FIRES OF ABANDONMENT
Minsk
3.94 | 60 ratings
THE DIRECTION OF LAST THINGS
Intronaut

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

SAL Y MILETO
Sal Y Mileto
THIS GRAND SHOW
Grayceon
IRLYA - IL Y A -
Mutyumu
TWILIGHT RITUAL
Deadbird

Latest Experimental/Post Metal Music Reviews


 Mandylion by GATHERING, THE album cover Studio Album, 1995
3.88 | 165 ratings

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Mandylion
The Gathering Experimental/Post Metal

Review by The Crow
Prog Reviewer

4 stars Mandylion was one of the most influential metal albums of the 90's. At least in Europa!

And I'm confident with my affirmation because The Gathering (and specially Mandylion) started a well-known fever of metal bands led by female voices which remains till today. The influence in gothic metal bands like Within Temptation and Lacuna Coil is obvious. But glimpses of The Gathering can be also heard in more pop-oriented bands like Evanescence, and also in metal bands like Nightwish.

The main characteristic of The Gathering's sound in this album are the strong guitar riffs, the omniscient layers of keyboards and the incredible voice of Anneke van Giersbergen, who in my opinion is the best female metal singer ever. These three elements, helped by a competent production, created a very enjoyable album despite its obvious flaws.

Mandylion starts the album wonderfully with Strange Machine, with its great riff and outstanding vocals, in a sort of symphonic gothic metal both powerful and mellow, and very elegant. The lyrics are not so great, but they accompany the music just fine with its thematic about time travel.

Eleanor is darker, more gothic and pretty negative lyrics, again with some progressive influences and a great bass line. And very gothic is also In Motion #1, an almost symphonic song with tons of keyboards and a beautiful dark atmosphere.

Leaves start with mellow guitars but soon they give way to another dark riff with the typical layer of keyboards. And at this point we can't avoid thinking that this album is a bit repetitive, but the wonderful solo of the song and its instrumental interlude make us forget that.

Fear the Sea is another competent song which talk about the fearsome waters of the ocean, helped by some hard almost- thrash metal riffs. This song contains a long instrumental part which is not very brilliant, but adds a layer of extra setting. And very atmospheric is also the title track, with ethnical percussion and beautiful vocal melodies. A very adequate song for this point of the album!

Sand and Mercury is the longest and also the most progressive track of the album. Anneke don't appear till the sixth minute! And when she appears the song transform itself into pure magic. Beautiful! And JRR Tolkien talks at the end of the song? What more could we desire?

Oh, yes? I know what I desire for this album. A powerful yet beautiful ending track, with a bit of extra melody. And In Motion #2 is exactly that! Maybe my favorite track of the entire album. Just great and with a beautiful cello!

Conclusion: Mandylion is a very good record, almost excellent. Anneke is wonderful, the production is superb and the songwriting very strong although a bit repetitive. Of course, not every prog rock lover will be able to appreciate its quality and influence over the years. But if you like gothic rock, alternative metal and female voices, this album with fulfill all your expectations.

Best Tracks: Strange Machines, Eleanor, Leaves, Sand and Mercury, In Motion #2. But not a single weak song can be found here!

My rating: ***1/2, rounded up to four stars.

 Devin Townsend Project: Addicted by TOWNSEND, DEVIN album cover Studio Album, 2009
3.86 | 301 ratings

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Devin Townsend Project: Addicted
Devin Townsend Experimental/Post Metal

Review by The Crow
Prog Reviewer

4 stars Addicted! is the Devin Townsend personal interpretation of pop-rock and hard rock.

This second installment of the ambitious tetralogy that Devin created after a short break is a fresh collection of songs, which take some pop, and hard rock elements that we found in albums like Ocean Machine and Accelerated Evolution, but in a bit more commercial and straightforward direction.

And with the perspective that we have eight years after the release of Addicted!, I think that this album is one of the most important works of this prodigious Canadian artist, because later albums like Epicloud and Sky Blue took a similar direction in terms of production, style and character. And of course the contribution of Anneke van Giersbergen showed itself as a vital contribution for Devin. This woman's voice fits perfectly in the sound of Devin Townsend, and the success of Addicted! supposed the start a very fruitful collaboration.

The album starts with Addicted!, a song with a catchy riff and the typical Devin's wall of sound, but this time with cool electronic elements. The melodies and lyrics in the verses are a variation of the last track of the album, Awake, and here we clearly hear that Devin's intention was to create a more conventional and commercial album than Ki, but maintaining the trademark elements of his style. And Anneke sings so damn good here!

Universe in a Ball starts with powerful drums and a menacing riff, and the great vocal melodies they remind me to Ocean Machine. Fine track, but not a highlight. Quite the opposite as Bend it Like Bender, a very surprising song that is an outstanding mixture of pop-rock, disco and extreme metal. Just incredible and another sample of the unmatched talent of this musician!

But Supercrush! is even better! The initial riff is breathtaking and the Anneke verses a real wonder. Devin shows off again with his incredible voice in the chorus, and the atonal instrumental interlude is very original and unique. A real classic! And also a classic is Hyperdrive, a song included in Ziltoid the Omniscient but this time with the Anneke voices. I prefer the original song, but this cover is also very good and it fits perfectly with the mood of the album.

Resolve! is another powerful exterme-hard rock song with very good vocals from Anneke, which strenght is very adequate before Ih-Ah!, the ballad of the album. And what a wonderful one! Intimate but not corny at all, and with beautiful vocals from Devin. I think that his voice was in top-form here, and Ih-Ah! is a good proof of that.

The Way Home contains a very good instrumental work (the drumming is awesome) and a surprising tenor interpretation from Devin, while Resolve is a vehicle for Anneke, who offers her better singing in the whole album in this good song.

And finally, Awake! is my favorite track of Addicted! Is a progressive hard rock hit with amazing growls and even more incredible high-pitched vocals from Devin, with a mysterious ending, which anticipated the next album Deconstruction, both musically and lyrically. What a great way of end this album!

Conclusion: Ki brought us the most experimental, dark and diverse side of Devin. But Addicted!, on the contrary, is pure delight and power, luminous, fresh and catchy. In my opinion is not so innovative as Ki or Deconstruction, and of course it does not reach the level of masterpieces like Terria or Synchestra. But it is an excellent record anyway, and a very important one for Devin's career because its success strongly influenced his style in later releases.

And Anneke was so a great addition! Thank you, Devin. This girl is pure magic.

Best Tracks: Bend it Like Bender!, Supercrush!, Ih-Ah!, Awake!

My rating: ****

 Diabolicus Felinae Pandemonium by PRYAPISME album cover Studio Album, 2017
3.96 | 6 ratings

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Diabolicus Felinae Pandemonium
Pryapisme Experimental/Post Metal

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

4 stars Just exactly is one to make of a band that names itself after a persistent, usually painful erection of the penis, especially as a consequence of disease and not related to sexual arousal? It would be fair to assume that you are in for a very demented musical experience of the highest magnitude and if oddball music is what your craving then look no further than the eccentric musical Frankenstein world of the freaky French band PRYAPISME (spelled "priapism" in English.) This band emerged in Avergne, France all the way back in the year 2000 where it has been known in the weirdo cult metal circuits who demand the outlandish, demented and utterly warped yet still require the frenetic energy level and headbangin' crunchiness that metal and breakcore offer. PRYAPISME has been a rather underground band in the greater progressive rock and metal universe despite having pumped out some very sophisticated compositions over the last decade incorporating not only the jazz-fusion world of Frank Zappa but an even more eclectic sonic palette and as usual falls into the utterly uncategorizable grey area of music where it is literally impossible to wrap your head around.

While PRYAPISME got pegged into the world of Mr Bungle with their 2010 debut release "Rococo Holocaust," the band has consistently pumped out full-length albums and several EPs that prove they are much more than a Bungle wannabe band that skirts along with a few ideas set on retread. On their much anticipated third release DIABOLICUS FELINAE PANDEMONIUM finds them dishing out their most complex and progressive bouts with madness of their entire canon and as evidenced from the title, their continued fascination with the world of cats that have a recurring role on their album covers. Meow. Like all their albums, DIABOLICUS continuous their legacy of harum-scarum instrumentals run amok with unabashed orgies of sound swirling about like a sonic slut insatiably fornicating with not only every sailor who hits ground from a wild mission on the seven seas but also the kind who takes these inhibitions and does unthinkable things with every animal at the zoo. Now you're interested, aren't ya? Oh yeah. The band spent three years making this album fine tuning and layering element after element often with the company of cats and creative lunatics lurking about.

Generally speaking, DIABOLICUS begins the album with the somewhat easier to follow sonic s.h.i.t storms that sound more in tune to Secret Chiefs 3 or Estradasphere than the Mr Bungle comparisons as the band members creatively circumnavigate their cauterized callathump down eclectic avenue. "Un Max De Croco" unapologetically begins with Middle Eastern rhythms and percussive drive that soon gets tramped upon by a plethora of counterpoints including avant-prog guitar riffs, blitzkrieg electronica and bantering bass lines. Yeah, this is just the beginning of the album and it only becomes more reckless and improvident as the tracks tick off to the final thirteen minute plus closer "Totipotence D'un Erg." Too complex for its own good, this one will lose many upon first listen. As a musical maniac myself, i was thrown for a loop on first spin and got absolutely zero resonance with this one. The sheer assault of manic electronic biastbeats, musical scales run amok seemingly in competition, the random aimlessness that zigzags in any old direction and the brutal prog assault of dissonance, Rock In Opposition dexterity and time signatures of rabid maddened quarks springing from the primordial energetic soup at the quantum levels of reality. This is simply too much to take in at once. In fact it only began to sink in after the fourth listen. Yikes. Only the truly dedicated will want to tread on these unsecured grounds. However, it flows rather nicely.

It's almost impossible to convey in words through language what the listener will experience with DIABOLICUS FELINAE PANDEMONIUM which takes all the elements of anyone familiar with the eclectic canon of PRYAPISME and then steers their sonic ship pedal to the metal to a fully fledged 10 on the progometer. This frenetic maelstrom of sound is chock full of myriad musical building blocks and then some. Yes, there is the usual avant-garde metal elements of heavy guitar riffs and beefy bass chugs that accompany the frenetic electro-percussive overwroughtness, however this one has a lot of dedication to complex jazz-fusion workouts including sizzling John Zorn inspired sax solos, syncopated chops even incorporating ska, funk and reggae only to suddenly shift into lounge lizard exotica or Western classical baroque scenarios that rely on Nintendo chiptune technology get the point accross. The Secret Chiefs 3 connections comes through most strong on "% Babines, Pur MolossoÔde ! " where i hear many of the elements on their "Second Grand Constitution and Bylaws: Hurqalya" album coming into the forefront, however PRYPISME has for the most part shed any true comparable influences and despite existing in the genre blending pool shared with other bands such as Sigh, Igorrr, Mr Bungle and Unexpect, they have truly reached the promised land where they stand on their own two feet.

As i've stated. This is one you have to work for. It is a demanding listen in every way and despite being one of the most adventurous and eclectic music lovers myself, i still had to attentively listen to this one for a number of spins to decipher exactly what was going on and i'm still not sure i can find any reasonable words to relay. This is plain organized chaos. The only thing i can truly convey is there are digestible chunks of hyperactive space-disco, chiptune or other electronica parts that provide some sort of melodic development that get superseded by other types of musical beasts that play team tag and take over the stage but they don't always feel like continuing the theme and go all out to left-field but not always! Sometimes they like the game that has been chosen and they see it to fruition. All i can say is this is wwweeeiii iiiirrrrdddd!!!! But a very wild and woolly kind of weird that has enough to latch onto while still delving into everything from cyber metal to spaghetti western music. Yeah, the Mr Bungle comparisons will still come to mind but PRYAPISME has mastered a more effective flow of genre mutilation and is much more comparison to what the Secret Chiefs have achieved and for the most part eschew any noticeable similarities with the exception of a couple tracks. Weirdo hyper electronic metal-in-opposition flying its freak flag at full staff. Won't you stand for this national anthem? This is one that could see my rating go up if this continues to grow on me as it has :p

 The Optimist by ANATHEMA album cover Studio Album, 2017
3.21 | 66 ratings

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The Optimist
Anathema Experimental/Post Metal

Review by The Crow
Prog Reviewer

2 stars Why, Anathema? Why?

Distant Satellites was by no means a bad album. It had even truly brilliant moments. But its experimental parts were too vague and disoriented. And The Optimist is sadly a follow-up of all this. We can hear a band trying to retrieve the alternative feeling of A Fine Day to Exit without achieving that, offering a monotonous and repetitive collection of songs unworthy of a band with this status.

32.63N 117.14W is just a brief introduction to Leave it Behind, which starts with the typical Anathema guitar, which automatically bring to mind the most alternative records of the band like the aforementioned A Fine Day to Exit or A Natural Disaster, despite its horrible electronic rhythm at the beginning of the song. But the song it's too repetitive to be considered a brilliant track, and the instrumental interlude is just awful.

Endless Ways brings the much appreciated Lee's voice and the album automatically get better. In addition, the orchestral arrangements of the song are beautiful. Sadly this track is also too repetitive for my taste, but better than The Optimist nevertheless, which is a dull and absolutely not inspired song, despite its fine guitar melodies towards the end. Till this point the quality of the album is not good, but acceptable.

But then we find San Francisco... A piano melody which repeats itself during four minutes without any kind of progression or interest, apart from its U2-type guitars. What the hell is that? Are you trying to cheat us, guys? And Springfield is even worse, another swindle with absurd lyrics and repetitive melodies... Again. Because that's the main problem of this album. The melodies and compositions are Ok, but the repetition of the same melodies again and again in almost every song give an impression of vagrancy and lack of compositional work that deeply disappoints me coming from one of my favorite bands.

Luckily, Ghosts is the best track of The Optimist. Very beautiful orchestral arrangements (this album is pretty symphonic) and vocal melodies from Lee, who sings a rather brief text. That's another interesting point of the album... The lyrics are pretty short in words and ideas. I don't really know the goal of this very minimalistic approach in the lyrics, but that's also a disappointment coming from a band with wonders like One Last Goodbye.

Can't Let Go is more lively and more guitar-oriented. Vincent's voice sounds very contained, like in the whole album... And that's also a shame, because his voice was so incredible in the previous albums! Nevertheless, it's a good song. In opposite to Close Your Eyes, another boring and insipid moment with uninspired lyrics. Only the final part with wind instruments which reminds me to Van Der Graaf Generator deserves a mention.

Wildfires is one of the lowest points of the album. Depressing, repetitive and with horrible vocal effects. I really don't know how a track like that could make it into the final record. Even the typical increase of intensity in its final part is foreseeable and lame. But Anathema had mercy of us and they managed to put a decent song at the end of the CD named Back to Start, which contains good verses with a warm interpretation from Vincent and good piano melodies. The chorus is not so good and so is the final part, unnecessarily bombastic and pretentious. This could have been a good ending for a better album... But after the average or directly bad content of The Optimist, Back to Start is just utterly overblown.

Conclusion: The Optimist would be an average release for a novel band. But talking about Anathema, this record is their worst album, including their doom metal ones. A repetitive, uninspired and pretentious collection of songs with a worrying lack of ideas and direction. The attempt to retrieve the alternative rock of A Fine Day to Exit failed, and despite the orchestral arrangements the musicians don't shine like in other records of the band.

I really hope that they make it better in their next album, because after the just decent Distant Satellites and this mediocre The Optimist, I am really not so optimistic about the future of the band.

Best Tracks: Ghosts, Can't Let go, Back to Start.

My rating: **

 Distant Satellites by ANATHEMA album cover Studio Album, 2014
3.68 | 391 ratings

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Distant Satellites
Anathema Experimental/Post Metal

Review by The Crow
Prog Reviewer

3 stars After two rather similar (although fantastic) albums, Anathema tried to evolve their sound... But was it in the right direction?

The album starts brilliantly with the powerful The Lost Song Part 1, which follows the patch of Weather System but with a cleaner production, leaving a bit the familiar wall of guitars from previous releases. And we can also hear how Vincent sings even better than before! The voice of this man has no limits.

The Lost Song Part 2 is one of my favorites here thanks to the very sweet Lee's vocals and precious arrangements. The magic of Anathema is still here and it continues in Dusk despite its cheesy lyrics. This tune starts with the typical fast acoustic guitar and slowly increase its intensity towards and epic ending. This is pretty good, but maybe this Anathema formula sounds a bit old and overused here... Time for a change.

And Ariel is not really a change, but it's breathtakingly beautiful nevertheless. Marvelous vocals, great piano melodies, and a prodigious guitar. This song is pure magic, and one of the highlight of the album and also in Anathema's career. It's like that all that Anathema tried after A Natural Disaster came together in this very song. Just perfect!

Sadly The Lost Song Part 3 brings nothing really new to the other two, despite its powerful bass lines. It tries to recover the most alternative moments of A Fine Day To Exit and A Natural Disaster, but it fails. It's not bad, but it pales in comparison to the four previous tracks. But then comes Anathema! An autobiographic song which supposed a return to the Judgment's (and maybe Alternative 4) sound bit with an orchestral filter. Very intense and with great vocals from Vincent... Again.

And what the hell happened after this moment, guys?

When I first listened You're Not Alone I thought "Ok, it's just another experimental track... No luck this time. Let's hear the next song" And the next song is a very insipid keyboard instrumental track named Firelight. "Ok, the title track is of course better..." And what we found with Distant Satellites is a very ugly electronic rhythm for a very repetitive, not interesting and uninspired song. I just can't believe it! The album was very good till Anathema. And what's all this mess?

But Take Shelter starts good. And I thought "This will be a good Anathema song"... But no! The unnecessary electronic rhythms are back for a song which end in a pretentious and bombastic way, really inappropriate. It brings some melodies from the first songs back, but that's not enough to leave the listener really pleased with this very irregular album.

Conclusion: Distant Satellites is maybe the most irregular Anathema album. It has great songs like The Lost Song (Part 1 and 2) and Ariel, and some of their worst and more shameful moments (You're Not Alone, Distant Satellites) I think it's honorable, even necessary, when a band tries to evolve their sound. But the experiment that Anathema made in some of the songs included in Distant Satellites is just dull and wrong in my opinion.

It's by no means a bad album. It has even unforgettable moments, but there are other I would rather forget.

Best Tracks: The Lost Song Part 1, The Lost Song Part 2, Dusk, Ariel, Anathema.

My rating: ***

 Weather Systems by ANATHEMA album cover Studio Album, 2012
4.02 | 837 ratings

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Weather Systems
Anathema Experimental/Post Metal

Review by The Crow
Prog Reviewer

4 stars After their very welcomed comeback two years before, Anathema released an album just as good as We're Here Because We're Here. If not even better!

Steve Wilson was not involved in the mixing of the album this time, but the production is also splendid, with a bigger predominance of strings and an even more variaty of moods and ambiences. The direction in this album is a bit more melancholic of in the previous effort, especially in the second half of the album, but not so dramatic like in preterits times.

Untouchable, Pt. 1 opens the album brilliantly, with an obvious continuation in style and mood. I think that Weather Systems was composed through the years along with We're Here Because We're Here, because the two albums are rather similar and they share too many points in common. Great guitars, beautiful melodies and intimate lyrics.

Untouchable Pt. 2 is follows the same musical theme, but in a slower and very melodic way. Lee's voice is introduced in the second verse and in the second chorus Vincent and Lee offer a marvellous duet. Just marvellous! The Gathering of the Clouds opens in a very dramatic way, with fast guitars and ominous piano chords and overlapping vocals in the style of Savatage.

This song is some kind of introduction to Lightning Song, the best Anathema's song in my opinion and a moment of pure magic. Lee's voice is just disarming in this one, and so are the touching lyrics. I chose this song for the end of my wedding... And the guests were really surprised!

Sunlight comes with the voice of Daniel Cavanagh, and his warmth help to create another great song for this album. The Storm Before the Calm is just life Get Off Get Out, the experimental moment of the album. But luckily much better this time! The cold robotic voices are perfect for the lyrics, and the second half of the song is a return to the style of A Natural Disaster.

The Beginning And the End is in my opinion another highlight of this album, with its marvellous piano keyboard, strong bass and the best Vincent's singing. Period. Just an almost perfect song! Sadly The Lost Child is a bit boring and repetitive, despite its classicism and fine orchestral arrangement. And Daniel's singing is also not so good in this one.

Internal Landscapes follow the path is like a mix between Presence and Hindsight from the previous album, but better than both and with an outstanding central section in the purest Anathema's style. Intense and strong guitars, alongside a bit of prog and charming melodies.

Conclusion: Weather System was not a big surprised compared to We're Here Because We're Here. Is like a second part of this album, but a bit better in my opinion. The 2010 released had an outstanding first half, but a weaker second one. Weather System is regular and therefore more enjoyable as a whole, making it the third better Anathema album after Alternative 4 and Judgement.

Sadly the band would not be able to achieve this great level on later releases... But that's another story.

Best tracks: all of the, except the weaker The Lost Child.

My rating: ****1/2, rounded down to four stars.

 We're Here Because We're Here by ANATHEMA album cover Studio Album, 2010
4.05 | 837 ratings

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

Review by The Crow
Prog Reviewer

4 stars We had to wait seven years for Anathema to come back... And they returned with one of their best albums!

Taking the deep and mature sound of the underrated A Natural Disaster, Anathema developed their sound a steep further with the help of the mixing of Steven Wilson, achieving not only their best sounding release to date, but also their most homogeneous in terms of songwriting and quality.

Thin Air opens We're Here Because We're Here energically, with beautiful lyrics and enough progressive moments to satisfy the most demanding fans of the band. The general ambient of this song is a less dark and melancholic the in previous albums, offering a surprising change in the band's direction, a lot more optimistic and bright. Just like the cover of the album!

Summer Night Horizon brings back the best moments of A Natural Disaster with mellow melodies but intense drums and a precious duet between Vincent and Lee, confirming that this album of 2003 was an advance of what the band would later do. Dreaming Light is even better, and a tremendous proof of how Vincent Cavanagh improved his voice through the years. Maybe the lyrics are a bit corny, but that's not so important while we are hearing the marvelous guitar and keyboard solo.

Everything was a single that we heard years before We're Here Because We're Here was released, and a great song despite its obvious Coldplay influences. It's also a very good act in live performances of the band. Angels Walk Among Us is my favorite song of the album. Another sentimental lyrics with splendid guitar melodies in the background. Prodigious!

Presence is musically a follow up of the previous track, but it contains some kind of philosophical speech in consonance with the mood of the album. A Simple Mistake is a bit more melancholic, a bit in the vein of Judgement but without reaching the best moment of this album. A good track nevertheless, with strong guitars towards the end.

Get Off Get Out is the most experimental moment of the album, and also one of its lowest moment. Is not a bad song, just anodyne? Luckily Universal is a better. A orchestral song with beautiful singing from Vincent and a very powerful second half. This should have been the ending of the album, because Hindsight is just pleasant, but not brilliant. And also a bit too long, making a good second half of the album, but not so outstanding as the first five songs.

Conclusion: despite its weak moments, We're Here Because We're Here is a very good Anathema album. Sometimes even excellent. It introduced a brighter and more optimistic stage for the band, which would encounter an excellent follow-up on Weather Systems. It has also a very competent production and mixing (the hand of Steve Wilson is there) and even the sometimes showy lyrics can't ruin the excellent songwriting that the band achieved during its almost seven years without releasing an album.

Best Tacks: Thin Air, Summer Night Horizon, Dreaming Light, Everything, Angels Walk Among Us.

My rating: ****

 The Silent Enigma by ANATHEMA album cover Studio Album, 1995
3.15 | 227 ratings

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The Silent Enigma
Anathema Experimental/Post Metal

Review by The Crow
Prog Reviewer

3 stars A doom band trying to find a new path... That's The Silent Enigma.

After the dissappointing and boring Serenades, Anathema expanded their sound by introducing a lot of keyboards and even orchestral arrangements in an album with a much deeper songwriting and variety. The result is a doom/gothic record with traces of progressive rock and psychedelic elements which is really interesting and very important for the band's career.

The production is also better than in their previous release, while Vincent took his role in vocals that he would never leave. He can't really sing in this album, but he sound tortured and dramatic enough, making him an appropiate frontman for a doom metal band. They also used female voices here, another trademark of Anathema's sound.

The Silent Enigma opens with Restless Oblivion, which starts with a 100% Anthema-typical guitar. After that we find a strong doom metal track with powerful bass lines and aggresive voices. The composition is surprisingly variable, almost progressive. And so is also Shroud of Frost, with a tortured vocal line from Vincent and excellent Danny's guitars toward the end.

Alone is my favourite track on the entire record, starting with a mellow acoustic guitar and keyboard melody. After that comes a beautiful female voice, with a strong melancholic feeling which introduces the mood of later releases like Alternative 4 or Judgement. Sunset of Age is a bit more gothic, very melodic, while Nocturnal Emission is a slow doom metal track with surprising psychedelic elements.

Cerulean Twilight es another typical doom metal song which suddenly transforms itself in a semi-acoustic tune in its second half. The Silent Enigma has very good melodies and a romatic ambience in the vein of the later Eternity. Good song! And also pretty good is A Dying Wish, maybe the best song of the album with typical riffs and Anathema's first epoch.

Black Orchid is an appropiate instrumental ending which woks as a summary of the album's style, both mellow, romantic and very dark.

Conclusion: the fans of Anahtema's last records will be dissappointed with The Silent Enigma. But this was my first Anathema's album two decades ago, and I still have a special affection for it. It's a good example and a band searching new ways to expand their music while maintaining the core style of their first album. Therefore is a perfect recommendation for doom metal lovers, but also for people desirous to discover one of the most interesting and stimulating transformations in prog rock history.

Best Tracks: Alone, The Silent Enigma, A Dying Wish.

My Rating: ***

 The Word As Law by NEUROSIS album cover Studio Album, 1990
2.93 | 18 ratings

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The Word As Law
Neurosis Experimental/Post Metal

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

3 stars It took three years for NEUROSIS to finally release their second album THE WORD AS LAW after a few personal changes but still with the triumvirate founders of Scott Kelly (guitar, vocals) and Dave Edwardson (bass) and Jason Roeder (drums). THE WORD AS LAW is a transition album of sort that while mostly stationed in the hardcore punk world as was their debut "Pain Of Mind," the band ramp up their experimental tendencies quite a bit. While only four musicians were present on the debut, there are five on this sophomore release. Steve Von Till replaces Chad Salter on guitar and Simon McIlroy joins the team to add keyboards, tapes and sampling effects and while the atmospheric focus is far from the bizarre world of their next album "Souls At Zero," it is a bit more obvious of the direction the band would meander albeit with 20/20 hindsight vision. THE WORD AS LAW takes the hardcore punk approach of the debut and steers it more into experimental post-hardcore territory with an emphasis on the instruments taking separate roles in the musical process.

While the guitar continues the monstrosity of punk riffing, the bass takes on a more active role with not only supplemental support but unique grooves that create distinct counterpoints to the main guitar driven rhythms. Likewise with the drum rolls of Roeder as he takes liberties to give a more jazzed up heavy metal approach to the percussion side of things instead of lazily adhering to the traditional punk approach. The track "Tomorrow's Reality" actually sounds more like the doomed sludge metal that the band would become famous for rather than the punk world they were quickly leaving behind. Although it has a rather punk feel in timbres, tones and tenaciousness, it has a nonchalant sludge effect in tempo and cranks up a diverse rotation of chord changes and a more quickened punk section that has a rather alternative metal approach in the bass and drums even bringing a little funk to the table.

"Common Inconsistencies" debuts their unique atmospheric style in the intro that takes feedback and effects and dips into a hardcore world of surrealism before getting cold feet and retreating back to the Fugazi style post-hardcore comfort zone. While the vocals on THE WORD AS LAW are very much in the angry shouted anarchy side of things, i can actually hear where Sikth got inspired by the short but unsweet "Insensitivity" which contains the blueprints for the frenetic vocal style that Sikth would make a career out of proving that NEUROSIS inspired in many ways even at this stage. The final track "Blisters" is perhaps the only thing close to the progressive experimental metal they would perfect in the future. This track is performed in mid tempo, has a steady flow but has some progressive time signatures although it also feels like a proto-impression of the post-metal they would have a hand in developing. Despite being somewhat unique, it is a little too jittery for what they're grasping for.

THE WORD AS LAW has come out in two significant forms. Firstly in its LP version that contains the eight original tracks but the 1991 CD release added a whole seven extra tracks that included four re-recorded tracks from "Pain Of Mind" which placed them in the more interesting transitional phase of the band's career and fit in with this album quite well. It also includes three extra tracks, one being a cover of Joy Division's "Day Of The Lords" and another sneak peek into their lesser known side project Tribes Of Neurot with a hidden untitled seventh track that features over ten minutes of ambient guitar feedback and multi-dimensional freakiness. Personally i think the edition with the bonus tracks is definitely the version to seek out. These tracks are in many ways better than the album itself but THE WORD AS LAW shows a significant improvement over the debut even if it pales in comparison to the awesomeness that follows. starting with the phenomenal "Souls At Zero."

3.5 rounded down

 Serenades by ANATHEMA album cover Studio Album, 1993
2.34 | 195 ratings

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Serenades
Anathema Experimental/Post Metal

Review by aglasshouse

2 stars Serenades' story is an unfortunate one, mainly due to the album being unknowingly doomed from the start to be cast aside because of how much of a reputation Anathema would gain with preceding albums. I'm not the first one to say it, but it's fairly cut-and-dry that Anathema's debut does not match up in quality to nearly every other release the band had following it. This goes for not only Anathema's progressive rock material but also in terms of their doom metal albums, because they made leaps and bounds with their previously half-baked ideas with the Silent Enigma two years later. So really what makes Serenades generally thought of as bad?

Well aside from the aforementioned comparisons it gets to later material (that is usually judged to be much higher quality), Serenades is generally not very interesting. It's unnaturally melodic in unfitting places with overly loud guitars drowning out dull, growling vocals from Darren White, making for a seemingly confused doom metal album that shows a different genre within it but refuses to show it to it's full potential, in this case the progressive side of Anathema. I will admit on first listen it packs quite a punch- the double kick, crisp drumming from John Douglas really contrasts well with the very large-sounding guitar duo of the Cavanagh brothers. And then they do it again. And again. And so forth. It really is a neat concept that could use more exploring, but here it's just really maldeveloped. The melodies also get stale extremely quickly. 'Eternal Rise of the Sun''s opening hook isn't anything really special, but it is substantial. Then it gets repeated so much that it just gets annoying.

Honestly I think the biggest problem is Serenades doesn't want to be a gritty, Winter-esque album with very low production value and little eclecticism. Young Anathema wanted to be more than that, obviously, but how they show that is with an underwhelming release that can't decide whether it wants to be complex or simple. And don't even get me started on the twenty-three-and-a-half minute long pseudo-orchestral snooze-fest that is 'Dreaming: The Romance". Usually when you see a song of that length you'd assume something spectacular. Instead you get almost a half-an-hour of flat, programmed strings with very little variation, and sounding like an intro or interlude stretched out twenty minutes too long. Really it's a disappointing ending to an already disappointing album.

Serenades is an album remembered among really only fans, and not really for a good reason. It's an underdeveloped...well, I wouldn't really call it a "mess" but more along the lines of a misstep. It was corrected fairly well but it's a tangled debut with bigger aspirations than it can fit in it's tiny box.

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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 LOST STATE OF MIND United States
A((WAKE)) United States
AABSINTHE France
ABANDON Sweden
ABYSSE France
ACROSS TUNDRAS United States
ACYL France
ADMIRAL BROWNING United States
ADRIFT Spain
AFTER MY OWN United States
AGALLOCH United States
AGES GONE Germany
AKPHAEZYA France
AKROMA France
ALASKAN Canada
ALCEST France
ALTAR OF PLAGUES Ireland
AMARA United States
AMATERAZU Portugal
AMBEON Netherlands
AMENRA Belgium
AMESOEURS France
AMIA VENERA LANDSCAPE Italy
ANATHEMA United Kingdom
ANCESTORS United States
AND HARMONY DIES Italy
ANGEL EYES United States
ANTIGUA Y BARBUDA Spain
ANTIMATTER Multi-National
ANUBI Lithuania
AORIA Sweden
APOCALIPSIS Mexico
APOCRYPHAL VOICE Finland
APOKATASTASIA Switzerland
APSE United States
ARCADE MESSIAH United Kingdom
THE ARKITECHT Mexico
ARKTIKA Germany
AS LIGHT DIES Spain
ASIDEFROMADAY France
ASPIRATION Norway
ASTROHENGE United Kingdom
ASTRONAUT DOWN United States
AT THE SOUNDAWN Italy
THE ATLAS MOTH United States
ATMOSPHERES Belgium
THE ATOMIC BOMB AUDITION United States
ATROX Norway
AUSSIT‘T MORT France
AUSTARAS United States
THE AXIS OF PERDITION United Kingdom
AZIOLA CRY United States
BACK WHEN United States
BAK Australia
BARONESS United States
BAT CASTLE United States
BATTLE OF MICE United States
BATTLEFIELDS United States
BAUDA Chile
BEAK United States
BEECHER United Kingdom
BEFORE THE EYEWALL United States
BEHIND THE SUN Israel
BEING United States
ADRIAN BENAVIDES United States
BIRUSHANAH Japan
BISON B.C. Canada
BLACK MATH HORSEMAN United States
BLACK SEA Brazil
BLACK SHEEP WALL United States
BLACKWAVES Germany
BLINDEAD Poland
BLOOD & TIME United States
BLUT AUS NORD France
BOBEL Costa Rica
BOSSK United Kingdom
BOTANIST United States
BRAIN TENTACLES United States
BRIDGES TO DREAMS Canada
BUNKUR Netherlands
BURIED INSIDE Canada
BURN DOWN ROME United Kingdom
BURWEED Finland
BUTTERFLY TRAJECTORY Poland
CAINA United Kingdom
CALDERA France
CALLISTO Finland
THE CANCER CONSPIRACY United States
CANDIRIA United States
CAPRICORNS United Kingdom
CAPTURE THE SUN United States
CARNIVAL IN COAL France
CARONTTE Spain
CATACOMBE Portugal
CAVE IN United States
CELEBRITY SEX SCANDAL United States
CELESTINE Iceland
CHASE THE SUNSET United Kingdom
THE CHRONICLES OF ISRAFEL Canada
CHRYST Austria
THE CIRCLE ENDS HERE Italy
CIRUELO CILINDRICO Spain
CLERIC United States
CLOUDKICKER United States
COALESCE United States
COLD BODY RADIATION Netherlands
A COLD DEAD BODY Italy
COLDWORLD Germany
COME SLEEP Sweden
COMITY France
CONIFER United States
CONSECRATION Serbia
CORMORANT United States
COSMONAUTS DAY Russia
COUNTERVELA Ireland
CRIB45 Finland
CULT OF LUNA Sweden
D.U.N.E. Italy
DAKRYA Greece
DAMASCUS United States
DARK CASTLE United States
DARK SUNS Germany
DARKESTRAH Germany
DARKSPACE Switzerland
DAUGHTERS OF FISSION United States
DAY WITHOUT DAWN United States
DE OMEGA United States
DEADBIRD United States
DEADSOUL TRIBE United States
DEAFHEAVEN United States
THE DEATH OF HER MONEY United Kingdom
DECORTICA New Zealand
DEEP IN THOUGHT Germany
DEFYING Poland
DETERIOR United States
DEVIL SOLD HIS SOUL United Kingdom
DIESTO United States
DIGRESSION ASSASSINS Sweden
DIRGE France
DISAPPEARER United States
DIVINA ENEMA Belarus
DōDSVERK Norway
DORNENREICH Austria
DOTZAUER Italy
DR. SLAGGLEBERRY United Kingdom
DRAWN Norway
DREARE Czech Republic
DREARINESS Italy
DYING SUN United States
EARTH United States
EAST OF THE WALL United States
EBONY LAKE United Kingdom
ECHOES United Kingdom
ECHOES OF YUL Poland
ECHOSILENCE Estonia
EGOIST Poland
EHNAHRE United States
EIGHT BELLS United States
EINNA France
ELLIPSIS France
EMPIRES United States
EMPTY YARD EXPERIMENT United Arab Emirates
ENDER New Zealand
ENDNAME Russia
EPHEL DUATH Italy
EPISTASIS United States
ETERNAL DEFORMITY Poland
ETHERSENS France
EVIL INSIDE Spain
EX CURIA Australia
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
KHEMEŌA France
KHOMA Sweden
KHUDA United Kingdom
KICK THE BUTTERFLY Australia
KINGDOM Belgium
KLABAUTAMANN Germany
KOLLWITZ Norway
KONG Netherlands
KONGH Sweden
KOSMOGRAD Canada
KRAKOW Norway
KRUGER Switzerland
KYLESA United States
LANDFORGE United Kingdom
LANTLOS Germany
LATITUDES United Kingdom
LEFT BRAIN United States
LENTO Italy
LESBIAN United States
LIGHT BEARER United Kingdom
LITHIUM DAWN United States
L÷BO 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 MOBIUS Multi-National
MYSTIC Netherlands
NAHEMAH Spain
NAHRAYAN Spain
NANDA DEVI United States
NATIONAL SUNDAY LAW United States
NAUTICUS Finland
NEBRA Switzerland
NERO DI MARTE Italy
NEUMA Poland
NEUROSIS United States
NEVBORN Switzerland
NIHIL Serbia
NINTH MOON BLACK United States
NO HOME FOR HEROES Australia
NO MADE SENSE United Kingdom
NOCTIS Australia
NOEKK Germany
NORTH United States
NOVEMBRE Italy
NUCLEUS TORN Switzerland
OBSIDIAN KINGDOM Spain
THE OCEAN DOESN'T WANT ME South Africa
THE OCEAN Germany
OCOAI United States
OHGOD! South Africa
THE OLD DEAD TREE France
OLD MAN GLOOM United States
OMB Israel
THE OMEGA EXPERIMENT United States
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÷OOOOOOOOOO France
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ōRKENKJōTT Norway
ORPHANED LAND Israel
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THE OTHER SIDE OF THE SKY United States
OUTOPSYA Italy
OUTRUN THE SUNLIGHT United States
OVERMARS France
÷XX÷ X÷÷X France
PAN.THY.MONIUM Sweden
PANOPTICON United States
THE PAX CECILIA United States
PECCATUM Norway
PELICAN United States
PET SLIMMERS OF THE YEAR United Kingdom
PIKE Sweden
PINKLY SMOOTH United States
THE POSTMAN SYNDROME United States
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THE PROPHECY United Kingdom
PRYAPISME France
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PSYKUP France
PYRAMIDS United States
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QUBE Poland
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RADAR Finland
RADIATION 4 United States
RAIN DELAY Serbia
RAINROOM Finland
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RED PAPER DRAGON United Kingdom
REFRACTION Ireland
THE REPTILIANS United States
RETURNING WE HEAR THE LARKS United Kingdom
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ROUTE NINE Sweden
RWAKE United States
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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
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SHELTER RED United States
SHELVING Switzerland
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SHRINEBUILDER United States
SIGH Japan
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SKAGOS Canada
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SKUGGSJŃ Norway
SLEEP MAPS United States
SLEEPING IN GETHSEMANE United States
SMALLMAN Bulgaria
SMOHALLA France
SNOWBLOOD United Kingdom
SO IS THE TONGUE United States
SOEN Multi-National
SOLSTAFIR Iceland
SONS OF ALPHA CENTAURI United Kingdom
SPACEKING Russia
SPRING & YOUTH Serbia
STALINGRAD Spain
STANDING OVATION Finland
STARE AT THE CLOUDS Australia
STATS United States
STEAK NUMBER EIGHT Belgium
A STORM OF LIGHT United States
SUBROSA United States
SUBTERRANEAN MASQUERADE Multi-National
SUFFOCATE FOR FUCK SAKE Sweden
SUMAC Multi-National
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SUPERCONTINENT United States
THE SUSPENDED CONGRESS Ireland
SWARM OF THE LOTUS United States
A SWARM OF THE SUN Sweden
SWITCH OPENS Sweden
SYDERALUS Argentina
TACOMA NARROWS BRIDGE DISASTER United Kingdom
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TELEPATHY United Kingdom
TEMPEL United States
TENOCHTITLAN Russia
TEPHRA Germany
TERRA TENEBROSA Sweden
TESA Latvia
TETRAFUSION United States
THANATOSCHIZO Portugal
THENCE Finland
FREDRIK THORDENDAL'S SPECIAL DEFECTS Sweden
THY CATAFALQUE Hungary
TIDES United States
TIDES FROM NEBULA Poland
TIME ZERO United States
TITAN Canada
TODTGELICHTER Germany
TOMYDEEPESTEGO Italy
TOOL United States
TOUNDRA Spain
TOWN PORTAL Denmark
DEVIN TOWNSEND Canada
TRANSMISSION0 Netherlands
TREPHINE United States
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TRUTHSEEKER United States
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UNA CORDA United Kingdom
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USER NE Spain
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VISCERA/// Italy
VOID United Kingdom
VOID OF SILENCE Italy
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VULTURE INDUSTRIES Norway
THE WATERS DEEP HERE United States
WE LOST THE SEA Australia
WE MADE GOD Iceland
WEAKLING United States
WHAT MAD UNIVERSE France
WHAT THE BLOOD REVEALED United Kingdom
WHEN DAY DESCENDS Australia
WHIRLING Sweden
WHOURKR Multi-National
WIDEK Poland
WINDHAM HELL United States
WINDMILLS BY THE OCEAN United States
WINDS Norway
ANDY WINTER Norway
WIZARD RIFLE United States
WOBURN HOUSE Germany
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A WORKING MODEL United States
WORM OUROBOROS United States
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YAVU Chile
YEAR OF NO LIGHT France
YOB United States
YTO SOLREISER Norway
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ZVOYN France

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