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EXPERIMENTAL/POST METAL

A Progressive Rock Sub-genre


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Experimental/Post Metal definition

 

Experimental Progressive Metal

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

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

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

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

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

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

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


Post Metal

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

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

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

Variations of Post-metal

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

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

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

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


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

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

Experimental/Post Metal Top Albums


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

4.24 | 599 ratings
PART THE SECOND
Maudlin Of The Well
4.22 | 1225 ratings
LATERALUS
Tool
4.22 | 559 ratings
TERRIA
Townsend, Devin
4.27 | 152 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.32 | 104 ratings
IMAGINARY SONICSCAPE
Sigh
4.19 | 500 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.17 | 601 ratings
JUDGEMENT
Anathema
4.19 | 276 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.17 | 245 ratings
IN A FLESH AQUARIUM
Unexpect
4.16 | 245 ratings
BATH
Maudlin Of The Well
4.55 | 34 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.13 | 296 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.18 | 130 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult of Luna
4.08 | 749 ratings
ÆNIMA
Tool
4.09 | 526 ratings
ALTERNATIVE 4
Anathema
4.10 | 315 ratings
THE MANTLE
Agalloch
4.30 | 58 ratings
SOULS AT ZERO
Neurosis
4.61 | 25 ratings
FEA JUR
Lye By Mistake
4.10 | 294 ratings
MABOOL - THE STORY OF THE THREE SONS OF SEVEN
Orphaned Land
4.11 | 220 ratings
PANOPTICON
Isis
4.56 | 27 ratings
A SHADOWPLAY FOR YESTERDAYS
Forest Of Stars, A
4.05 | 790 ratings
WE'RE HERE BECAUSE WE'RE HERE
Anathema
4.08 | 305 ratings
SYNCHESTRA (THE DEVIN TOWNSEND BAND)
Townsend, Devin
4.15 | 106 ratings
THE PAINTER'S PALETTE
Ephel Duath
4.18 | 78 ratings
SUSPENDED ANIMATION DREAMS
Subterranean Masquerade
4.07 | 231 ratings
S.U.S.A.R.
Indukti
4.13 | 112 ratings
SOL NIGER WITHIN
Thordendal's Special Defects, Fredrik
4.08 | 170 ratings
OCEANIC
Isis
4.05 | 291 ratings
FABLES OF THE SLEEPLESS EMPIRE
Unexpect
4.05 | 255 ratings
ÉCAILLES DE LUNE
Alcest
4.06 | 181 ratings
WAVERING RADIANT
Isis
4.50 | 24 ratings
TűNő IDő TÁRLAT
Thy Catafalque
4.21 | 54 ratings
WRITTEN IN WATERS
Ved Buens Ende
3.99 | 782 ratings
WEATHER SYSTEMS
Anathema
4.09 | 106 ratings
OMNIO
In The Woods...
4.00 | 279 ratings
EPICLOUD (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.00 | 244 ratings
OFFICE OF STRATEGIC INFLUENCE
OSI
4.04 | 111 ratings
IF_THEN_ELSE
Gathering, The
4.57 | 18 ratings
MYSTER MÖBIUS
Myster Mobius
3.98 | 256 ratings
OCEAN MACHINE: BIOMECH
Townsend, Devin
4.33 | 27 ratings
OPPORTUNISTIC THIEVES OF SPRING
Forest Of Stars, A
4.16 | 46 ratings
THE MALEDICTION FIELDS
Fen
4.33 | 27 ratings
MANTIIS
Obsidian Kingdom
4.29 | 29 ratings
THE GALILEAN SATELLITES
Rosetta
4.00 | 130 ratings
EPOCH
Fen
3.94 | 368 ratings
DECONSTRUCTION (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.04 | 76 ratings
LEAVING EDEN
Antimatter
3.98 | 124 ratings
NIGHTTIME BIRDS
Gathering, The
3.95 | 194 ratings
ACCELERATED EVOLUTION (THE DEVIN TOWNSEND BAND)
Townsend, Devin
4.20 | 32 ratings
UNDERSTANDING CONSEQUENCES
Day Without Dawn
4.06 | 55 ratings
TEETHED GLORY AND INJURY
Altar of Plagues
4.77 | 11 ratings
ELIL
Fall of Efrafa
3.98 | 96 ratings
VERTIKAL
Cult of Luna
4.01 | 71 ratings
A SUN THAT NEVER SETS
Neurosis
4.01 | 71 ratings
PRECAMBRIAN
Ocean, The
4.02 | 65 ratings
OI MAGOI
Hail Spirit Noir
4.12 | 39 ratings
PAINTING ON GLASS
3rd And The Mortal, The
3.96 | 102 ratings
PELAGIAL
Ocean, The
4.00 | 70 ratings
PREHISTORICISMS
Intronaut
3.89 | 304 ratings
GHOST (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.34 | 19 ratings
ABSOLUTE ZERO
Tetrafusion
3.92 | 143 ratings
HOW TO MEASURE A PLANET?
Gathering, The
4.05 | 47 ratings
THE BEES MADE HONEY IN THE LION'S SKULL
Earth
4.50 | 14 ratings
TERRAFORMING
Postman Syndrome, The
3.89 | 262 ratings
THE NEVER ENDING WAY OF ORWARRIOR
Orphaned Land
4.55 | 13 ratings
MICROCOSMOS
Thy Catafalque
4.10 | 36 ratings
SEA OF THE DYING DHOW
shels
3.93 | 114 ratings
SOUVENIRS D'UN AUTRE MONDE
Alcest
4.27 | 21 ratings
THE LOCUST YEARS
Hammers of Misfortune
4.04 | 46 ratings
THE DIRECTION OF LAST THINGS
Intronaut
4.72 | 10 ratings
MELANCHOLIE²
ColdWorld
3.90 | 141 ratings
GORDIAN KNOT
Gordian Knot
4.14 | 29 ratings
SELENELION
Vaura
3.85 | 482 ratings
A NATURAL DISASTER
Anathema
4.04 | 42 ratings
PLAINS OF THE PURPLE BUFFALO
shels
4.78 | 9 ratings
KENTUCKY
Panopticon
4.00 | 50 ratings
THE IMAGINARY DIRECTION OF TIME
Winds
4.05 | 38 ratings
EVE
Ufomammut
3.88 | 156 ratings
MANDYLION
Gathering, The
3.84 | 418 ratings
A FINE DAY TO EXIT
Anathema
4.03 | 41 ratings
HEART OF THE AGES
In The Woods...
3.85 | 285 ratings
ADDICTED (DEVIN TOWNSEND PROJECT)
Townsend, Devin
3.83 | 765 ratings
10,000 DAYS
Tool
4.26 | 19 ratings
NOIR
Callisto
3.88 | 139 ratings
CASUALTIES OF COOL
Townsend, Devin
4.03 | 39 ratings
RENGETEG
Thy Catafalque
4.28 | 18 ratings
CENOTES
Giant Squid
3.93 | 73 ratings
THE EYE OF EVERY STORM
Neurosis
4.40 | 14 ratings
DEAD AS DREAMS
Weakling
4.16 | 24 ratings
CARHEART
Virus
3.88 | 127 ratings
THE ACOUSTIC VERSES
Green Carnation
3.93 | 70 ratings
ANTHROPOCENTRIC
Ocean, The
4.19 | 21 ratings
TOUNDRA III
Toundra
3.83 | 354 ratings
FALLING DEEPER
Anathema
3.84 | 278 ratings
KI (DEVIN TOWNSEND PROJECT)
Townsend, Devin
3.90 | 87 ratings
THE FIRE IN OUR THROATS WILL BECKON THE THAW
Pelican
3.84 | 196 ratings
ASHES AGAINST THE GRAIN
Agalloch
4.08 | 27 ratings
SPIRAL SHADOW
Kylesa
4.00 | 37 ratings
WHITE TOMB
Altar of Plagues
4.88 | 7 ratings
ACID MIST TOMORROW
Hypno5e

Experimental/Post Metal overlooked and obscure gems albums new


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

THE MINSTREL'S CURSE
Noekk
SHEDDING
Apokatastasia
SAMUS OCTOLOGY
Irepress
GORDIAN KNOT
Gordian Knot

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Latest Experimental/Post Metal Music Reviews


 Sunbather by DEAFHEAVEN album cover Studio Album, 2013
3.70 | 44 ratings

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Sunbather
Deafheaven Experimental/Post Metal

Review by Warthur
Prog Reviewer

4 stars Deafheaven's Sunbather is certainly a divisive release, with some listeners embracing it whilst many - especially black metal purists - passionately disliking it. The thing is, I think the album's detractors are correct in most of their criticisms but short-sighted in their conclusions: that is to say, when you get down to it this really is a post-rock album with black metal vocals and blast beats parachuted in.

Where they go wrong is dismissing this combination in the first place; the album is actually a really entertaining listen, though I think you would need to enjoy both post-rock and black metal to really get the most out of it. And in expanding the lyrical subject matter of black metal as this album does, with songs about heartache and feelings and all sorts of stuff that more kvlt bands are too busy praising Satan or Odin (or, in some unwelcome corners of the subgenre, Hitler) to really address.

 MoRT by BLUT AUS NORD album cover Studio Album, 2006
3.15 | 12 ratings

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MoRT
Blut Aus Nord Experimental/Post Metal

Review by Warthur
Prog Reviewer

4 stars Whereas Blut Aus Nord's preceding album to this, The Work Which Transforms God, presented a series of compositions that juxtaposed dark industrial ambient sections with eruptions of black metal fury, here they take their experiment further. On MoRT, just as the distinctions between tracks break down (each reduced to a single chapter in one massive piece), so too does the distinction between the black metal, industrial, and ambient aspects of the group's sound, yielding a unique sonic landscape through which tormented vocals in the style of Tibetan throat singing warble.

It certainly isn't for everyone, and it's no surprise that people have an extreme reaction to it one way or another, but for my money it's one of the most rewarding sonic experiments arising from the black metal scene I have heard.

 Epos by DARKESTRAH album cover Studio Album, 2007
4.73 | 2 ratings

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Epos
Darkestrah Experimental/Post Metal

Review by CassandraLeo

5 stars Kyrgyz-German black metal band Darkestrah took a huge risk with their third album by making it a single track. Granted, that single track is thirty-three and a half minutes long, so they've in good progressive rock company here, but it's a risk that could backfire tremendously if the song turned out to be boring. Fortunately, that proves not to have been the case.

The album opens with samples of waves, which is a bit clichéd but works nicely to set up the atmosphere of the album. After a few minutes of this, some black metal riffs begin to fade in before the full band starts to play. The album utilises a cello, which is excellent (my only complaint is that I wish we could hear more of it), and the vocals of Kriegtalith deserve mention here as well. It's pretty unusual to hear female black metal vocals, and she is one of the best female black metal vocalists I've ever heard. Her vocals give the music a distinctive flavour that helps their music stand out from the crowd.

Lengthy passages of this album are completely instrumental, though. About halfway there's a break for thunder and rain sound effects, and then an acoustic guitar builds a riff that the band then constructs a Kyrgyz folk-flavoured black metal passage over. No other black metal band that I'm aware of has ever crossed these disparate elements in their music, and Darkestrah here are better at it than they've ever been. The passage builds in intensity in true post-rock style until the melody shifts again and Kriegtalith's vocals come back in shortly thereafter. The musical shifts are done intelligently; it doesn't feel like a collection of songs that the band stitched together, but rather one very consciously composed opus. A few shifts later (one of which brings in the lovely cello again) we get another acoustic passage which works fantastically before introducing a new black metal theme.

After a few more shifts the album eventually recapitulates the original theme with some beautiful clean singing in what sounds like Arabic or a Central Asian language (my ear for these is not terribly great). The album closes off with wave sounds again, as I suspect not much else would have provided appropriate closure to the album. With the sound effects, we really have only slightly under thirty minutes of music here, but what's here is of such high quality that I don't expect many listeners to mind. This album is an unqualified masterpiece and fans of post-black metal and folk metal are strongly urged to check it out.

 Embrace of Memory by DARKESTRAH album cover Studio Album, 2005
2.67 | 2 ratings

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Embrace of Memory
Darkestrah Experimental/Post Metal

Review by CassandraLeo

4 stars Compared to their first and third albums, Embrace of Memory comes across as being a bit musically regressive. It's pretty clearly the band's tribute to the Norwegian second wave of black metal, and it does an admirable job capturing the inhumanly cold atmosphere the best of those bands managed. The album isn't completely comprised of straight-ahead blasting; several songs (particularly the lengthier ones like "Akyr Zaman" and "Primitive Dance") have substantial dynamic shifts throughout their running time, and the album incorporates instruments like violins and various Kyrgyz folk instruments at various times.

However, this is first and foremost a black metal album. It has the atmosphere of old-school black metal and many of the songs have the structure of old-school black metal. It also has the filthy production of the genre; the drum performance is superb, but the bass-heavy drum mix means that it's frequently difficult to hear the bass player at all (though this is nothing new for black metal). It's a solid example of what it is, but whether a listener will enjoy it depends entirely on whether they enjoy old-school black metal. If you like old-school Enslaved, old-school Satyricon, old-school Emperor, and other bands of that nature, this is for you.

 Sary Oy by DARKESTRAH album cover Studio Album, 2004
5.00 | 1 ratings

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Sary Oy
Darkestrah Experimental/Post Metal

Review by CassandraLeo

— First review of this album —
5 stars There aren't too many well-known metal bands from Kyrgyzstan. I can only think of Darkestrah (they've since relocated to Germany, but their core membership for most of their existence was originally from Kyrgyzstan). Their debut full-length is an intriguing slab of folk-influenced progressive/post-black metal that features a surprising amount of musical variety given the genre's reputation for monotony. The music is extremely dynamic; the band have obviously listened to a lot of post-rock and have learned lessons from it.

The album, which runs for nearly forty-eight minutes, consists only of three tracks, the shortest of which, the instrumental "Jashil Oy", is still nearly eleven minutes in length. The album is apparently a concept album about three sisters; I don't know that much about it, apart from that it comes from pre-Islamic Kyrgyz myth. The band seems to be aligned with Tengrism, a form of Central Asian paganism, so it's probably not surprising. I don't usually do track-by-track reviews, but since there are only three songs here it's almost mandatory.

The opening song, which also serves as the album's title track, opens in a suitably dramatic fashion, sounding a bit like a spaghetti western soundtrack as filtered through the lens of black metal. All three of the songs have a fairly serene opening that eventually builds in intensity until the black metal parts come in. It's a bit of a formula, but it works, and why mess with it?

"Jashil Oy" is actually almost bouncy for a lot of its running time. The song uses some strange metre signature (I think it's alternating 7/4 and 8/4) for the majority of its length, which is built around a clean electric guitar riff that is surprisingly catchy. The obligatory black metal section is still less intense than is usual for the genre thanks to the lack of vocals on the song; the band uses a mouth harp to add the obligatory ethnic atmosphere. If you're not sure about black metal, start with this track.

"Kysil Oy" closes the album out on a truly epic scope. At twenty-five and a half minutes in length, it's practically the "Close to the Edge" of black metal, and I'm not just saying that because it's long. The song is heavily based around a church organ, which helps give the song one of the most dramatic build-ups in the history of the genre. The song also recapitulates a theme from the first track to give the whole album a coherence it might otherwise have lacked. It's the standout track here and if anyone reading this is inclined to listen to only one song from this album, it should be this one (unless, as mentioned above, you're not sure about black metal).

If the album has a significant flaw, it's the erratic production. It's to be expected that a then-obscure black metal band recording its first album would have amateurish production, but the upper frequency presence is pretty weak throughout the album, as if some of the instrument tracks were mixed from MP3 files, and the first two songs are examples of "loudness war" clipped masters, with the first being painfully so. What's odd is that the third song, which takes up more than half the album's running time, is completely free from any dynamic range compression shenanigans whatsoever. The difference is immediately noticeable, and kind of jarring given how loud the first two songs are in comparison.

I can't mention the band without noting the performance of their original vocalist, Kriegtalith, who performed on all the band's releases through 2014, when she left. There aren't too many female vocalists in black metal, and she performs a mixture of the traditional shrieks of the genre with some strange kind of throat singing that I can't exactly describe. It's strange, but it works with the music.

This release won't be for everyone, but fans of adventurous post-metal and black metal should definitely check it out. It's a unique and almost consistently fascinating album. I also strongly recommend their 2007 effort Epos.

 The Direction of Last Things by INTRONAUT album cover Studio Album, 2015
4.04 | 46 ratings

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The Direction of Last Things
Intronaut Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "The Direction Of Last Things" is the 5th full-length studio album by US progressive metal act Intronaut. The album was released through Century Media Records in November 2015. It's the successor to "Habitual Levitations (Instilling Words With Tones)" from 2013.

Stylistically Intronaut have taken a slight step back to their heavier past and reintroduce harsh shouting hardcore vocals. A feature which was almost completely missing from their sound on the predecessor. Most vocals on the album are still mellow ethereal clean singing though (I'm often reminded of Paul Masvidal from Cynic). The instrumental part of the band's music is still rooted in an adventurous playing rhythm section. Both drummer Danny Walker and bassist Joe Lester are very busy and quite inventive. The same can be said about the two guitarists/vocalists. The technical level of playing on this album is simply through the roof. There are strong jazz/fusion leanings in the music, but also sludge, post rock, mathcore, and progressive metal elements. The many styles combined it's pretty hard to make a valid description of the band's music, but atmospheric and technically well played progressive metal isn't an all wrong label.

The material on the 7 track, 46:03 minutes long album is well written, intriguing, and consistent in both style and quality. The combination of heavier hard edged parts and atmospheric mellow sections works well for the band. Even at their most aggressive and busy Intronaut have a sophisticated calm to their delivery, which means the music on "The Direction Of Last Things" is sometimes closer to rock than it is to metal. Artists like A Perfect Circle, Tool, and late era-Cynic are valid references.

"The Direction Of Last Things" is a very well produced album, featuring a clear, organic, and powerful sounding production, which fits well with the atmospheric music. So that combined with the brilliant musicianship and the adventurous songwriting, make for an intriguing listen and a high quality release. That's of course no surprise if you're familiar with Intronaut's preceeding releases, but it's still worthy of praise that they can continue to keep the quality level of their output as high as they do here. A 4 star (80%) rating is deserved.

 Ursa by NOVEMBRE album cover Studio Album, 2016
3.05 | 2 ratings

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Ursa
Novembre Experimental/Post Metal

Review by Windhawk
Special Collaborator Honorary Collaborator

3 stars Italian band NOVEMBRE is a veteran purveyor of sophisticated metal, with a history going back to 1990 and eight full length albums to their name so far. "Ursa" is the most recent of these, and appeared on UK label Peaceville Records in the spring of 2016.

I'll have to admit that Novembre is one of many bands that have flown under my radar, and that they've had a wee little hiatus lasting nine years as recording artists may possibly have something to do with that. I surmise then that this production will be a welcome and for some unexpected return by a band one might presume have a fairly well established fan base.

I'll give the band credit for exploring a type of metal that is a bit on the side of what other bands are exploring. While I haven't been close in touch with the metal scene for quite some time, Novembre comes across as a band that have ventures into landscapes of a kind not all that often explored by others. The manner in which they alternate between gentle, often folk-tinged escapades and harder edged, more intense arrangements is fascinating, especially when they opt for gradual transitional stages moving from one to the other rather than more abrupt changes or going from one to the other by way of intermissions of varying kinds. Especially some of those gentler passages felt truly inspired for me, and I also rather fancied the instances when that subtle touch of folk music was maintained also into the sequences with more of a metal based foundation.

Other features will be more of a case of subjective taste however, and for me at least also aspects that is a bit more on the negative side of things. Neither the growl style vocals nor the distanced, subtly sleepy but melodic and controlled vocals really managed to intrigue me. Partially due to form and execution, partially due to how the vocals are partially hidden in the mix. The latter details became something of a detrimental aspect for me as well, as the constant loud soundscapes became just too overpowering for me to really be able to focus and concentrate: As someone listening with a fairly total focus on the music itself, the constant presence of massive, loud soundscapes became tiring, despite numerous alterations in style and pace and clever use of minor, subtle details to add contrast and details to hone in on.

The album is well produced, and the above described affects comes across as planned as well as wanted features, but you need to have a mind and perhaps an approach to listen to music a bit different than what I have to be able to fall for the charms of this production. I guess that stating that there's just too much going on too often might be an apt description of this, and that too many details are too loud at the same time is the more detailed description one might give. Especially if you have the tendency to focus on the vocals, which generally have been mixed down to a barely audible level on a fairly consistent basis throughout.

Those fond of loud, majestic soundscapes and arrangements and material that has a tendency to stay massive, majestic and fairly grandiose on a fairly consistent level should take note of this CD, and then especially those who fancy such an approach applied to a band that explores a type of metal that features both experimental and doom-laden arrangements, with a liberal touch of subtly folk-music inspired details on top. At worst a pleasant but well produced affair worth giving an occasional spin, at best and for the right audience most likely a production that will be cherished and praised for it's specific sound and approach.

 Shores of the Abstract Line by HYPNO5E album cover Studio Album, 2016
4.04 | 7 ratings

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Shores of the Abstract Line
Hypno5e Experimental/Post Metal

Review by BrufordFreak
Collaborator Jazz-Rock/Fusion/Canterbury Team

4 stars "Cinematic metal" with all of the requisite djenty guitar power chords, machine gun bass drumming and male vocal screams/growls, yet interlaced within and between are plenty of soft, atmospheric, and even ambient sections--over which voice samples from a wide variety of languages are often on display. Interesting, surprising, and well recorded.

Favorite tracks: If Pink Floyd went metal we might get something like, "III. West Shore: Where We Lost the Ones" (10:31) (9/10) and insistent "V. Central Shore: Tio" (5:26) which is sung emotionally in Spanish (9/10).

Also good: the dreamy piano-based opener, "I. East Shore: Landscape in the Mist" (1:42) (8/10), the TUNE Lucid Moments-like "VI. North Shore: The Abstract Line" (6:56) (8/10), and; "VIII. The South Shore: Blind Man's Eye" (15:10) (8/10).

I found myself often reminded of the brilliant 2011 album Lucid Moments by Poland's TUNE while listening to this. Despite the growls and heavy sections (which are actually in the minority) this album is well worthy of repeated listens. Four stars.

 Ultima Thulée by BLUT AUS NORD album cover Studio Album, 1995
3.09 | 13 ratings

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Ultima Thulée
Blut Aus Nord Experimental/Post Metal

Review by Conor Fynes
Prog Reviewer

4 stars 'Ultima Thulee' - Blut aus Nord (83/100)

If I ever feel I need to put my ego in check, I remind myself that Vindsval wrote and recorded Ultima Thulée when he was fifteen years old. Sure, you don't need to look far to find black metal musicians who got their start when they were incredibly young, but a lot of the young teens mucked about with raw demos, putting out better-developed material once they were older. Vindsval had his rough demo period in his time working under the name Vlad in the years leading up to Ultima Thulée, but by the time of a full-length it's clear he already knew exactly what to do and how to do it.

Ultima Thulée is a painfully underrated and overlooked piece of work. Released in 1995, a year where the Second Wave was finally beginning to die down, Ultima Thulée is a burst of fresh air. Blut aus Nord would evolve into one of black metal's strangest entities in the years following, but even starting out there was already a weird Otherness to the atmosphere. First impressions had me thinking of it as a crunchier-sounding Burzum. Indeed, the fantastical, wintery atmosphere is here (albeit with far chuggier tones than master Varg is wont to use) but Ultima Thulée hints at the band's avant-garde destiny more than most of their fans lead on. Listen to the way "The Son of Hoarfrost" opens up the album with horror film piano before bursting into thick guitars, eerie synths, chattering drums and murky screams. They're not a great deal weirder than early Emperor here, but a lot of their defining traits were onboard from the very start.

That's not to say that Ultima Thulée should be seen as a step to something greater. My appreciation for many debuts often takes the form of admiring how a band go to a certain point, but I won't hesitate in saying Blut aus Nord's genius was already just about in full swing with this one; it just takes a different shape than what most listeners are used to hearing from them. The thick atmosphere is best expressed on "The Plain of Ida", where Vindsval builds amazing riffs beginning under a droning dungeon synth line that would make Burzum weep. Where the song might naturally stop some minutes in, Vindsval tacks on a spacey build that almost nearly recalls Voivod. Although the song titles might make Ultima Thulée out to be a more traditional black metal record, there are all sorts of oddities found in the music. For another example, the plodding riffs on "The Last Journey of Ringhorn" sounds like a death-doom interpretation of what life would be like on an asteroid mining colony. It's strange to hear such a strong sci-fi flavour on an album that's supposedly about Norse mythology. I'm not surprised Blut aus Nord ultimately changed their tune in that regard.

Ultima Thulée is consistently engaging and surprisingly varied in its efforts. I'm not surprised that Blut aus Nord could excel in more "traditional" territory (relatively speaking, at least) but it is incredible that they had their craft nailed from such an early stage. Excellence in youth can sometimes be attributed to luck and simple intuition, but I don't think that was the case for Vindsval. There was real vision behind this album. If you're having any trouble finding it, keep an ear out for the way Ultima Thulée is structured. Like a lot of the best black metal albums from that era, the album can take you on a journey if you let it. Ambient threads like "My Prayer Beyond Ginnungagap" are allowed to take full blossom in the middle of the album. The end result may still be shy of the groundshaking perfection achieved on later albums like The Work Which Transforms God, but Blut aus Nord were out to break rules from the very beginning.

 The Work Which Transforms God by BLUT AUS NORD album cover Studio Album, 2003
4.04 | 18 ratings

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The Work Which Transforms God
Blut Aus Nord Experimental/Post Metal

Review by Conor Fynes
Prog Reviewer

5 stars 'The Work Which Transforms God' - Blut aus Nord (96/100)

Blut aus Nord occupy a completely unique space in my mind. Even in light of their copycats, there's not a single group that shares their particular atmosphere. So many black metal bands try to sound "inhuman" with their music, but how many achieve that impression completely? If we were talking about a more traditional kind of black metal or a Darkclone, that inhumanness would be naturally interpreted as that of a demon, or some evil creature besides. Blut aus Nord takes a very different approach to Otherness, and they're all the more chilling for it. Each time I listen to this band, I get the growing sense that this is what black metal would sound like if it were written by a malevolent AI program. The Work Which Transforms God is the best/worst offender in this respect. Experience of this album lends one of the most striking impressions I've ever felt in black metal: This is the work of a completely non-human entity, or at least someone with the genius vision to bring that effect to life.

In many ways, The Work Which Transforms God is Blut aus Nord's defining album. Vindsval has always stuck fairly close to this industrial-laden, dissonant sound, but every album has weighed certain aspects over others. A more recent BaN record, Saturnian Poetry, was incredibly organic-sounding, and only bears resemblance to this in some of the tones and guitar phrasings. Even so, I never think of Blut aus Nord without thinking of the cold, empty pit they dug for themselves on this one. The Work Which Transforms God is almost entirely defined by its atmosphere, an industrial wasteland-variety sparseness that I've never heard brought to such extents anywhere else.

The only other project I can think of that envelops a listener in atmosphere like this is arguably Darkspace: infinitely colder than Darkthrone, vast and simultaneously claustrophobic all at once. In Blut aus Nord's case however, they bolster that tone with rich and disturbing riffs. Unlike Darkspace, many of the tracks here are individually distinctive. The vaguely melodic resolution in "Our Blessed Frozen Cells", the anxious swirl on "The Howling of God", not to mention the apocalyptic industrial dirge come the album's closing track, "Procession of the Dead Clowns"; all these moments and many more felt like a tortured relief from sanity the first time I heard them, and the effect's never worn off.

I know this band gets a lot of comparisons with Deathspell Omega. Fans of one would probably enjoy the other, sure, but that sort of comparison only goes so far in describing the music itself. Deathspell Omega's intellectualized spiritual blasphemies always made it feel like their chaotic murk had a higher purpose to it. Not helped by the fact this album's lyrics (indecipherable in the mix as it is) have never been released, it's difficult for me to think of The Work Which Transforms God as anything other than incredibly nihilistic in its aims. There is no joy in the music here. There have been times I've listened to this album and noticed myself coming out of it feeling miserable and worn-down. Even the revelatory melodic break in "Our Blessed Frozen Cells" lacks catharsis from the mire. Some people will see that negative emotional response as a bad thing. The Work Which Transforms God was never meant for them, if anyone at all. When I consider myself pretty desensitized to feeling something strongly in music, there's a morbid euphoria in hearing something that kills the spirit like this. Are there other black metal albums that drain the spirit from me like this? I can count them on one hand.

The Work Which Transforms God is excellently written and paced. Its genius, however, lies in the way it nurtures the atmosphere in production and execution. Blut aus Nord represents the best use of programmed drums ever heard in metal. Where I usually see "fake" percussion as a necessary evil at best in black metal, Vindsval uses it to his benefit, to the point where I'm not sure the album would be so great over a real kit. The guitar tone is mechanical but full, and despite echoing the timbres of machines so well in the music, it never once feels sterile. The Work Which Transforms God is what happens when an artist plunges deeper into an atmosphere than most others would dare dream of. Appreciating this cold, life-draining atmosphere shall be reserved for an elect few, while all others look on in bafflement.

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Experimental/Post Metal bands/artists list

Bands/Artists Country
11 AS IN ADVERSARIES France
19 A.D.D. United States
21 EYES OF RUBY Netherlands
THE 3RD AND THE MORTAL Norway
413 United States
5IVE United States
6:33 France
A((WAKE)) United States
AABSINTHE France
ABANDON Sweden
ABYSSE France
ACROSS TUNDRAS United States
ACYL France
ADMIRAL BROWNING United States
ADRIFT Spain
AFTER MY OWN United States
AGALLOCH United States
AGES GONE Germany
AKPHAEZYA France
AKROMA France
ALASKAN Canada
ALCEST France
ALTAR OF PLAGUES Ireland
AMARA United States
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
APOCALIPSIS Mexico
APOCRYPHAL VOICE Finland
APOKATASTASIA Switzerland
APSE United States
ARCADE MESSIAH United Kingdom
THE ARKITECHT Mexico
ARKTIKA Germany
AS LIGHT DIES Spain
ASIDEFROMADAY France
ASPIRATION Norway
ASTROHENGE United Kingdom
ASTRONAUT DOWN United States
AT THE SOUNDAWN Italy
THE ATLAS MOTH United States
THE ATOMIC BOMB AUDITION United States
ATROX Norway
AUSSITÔT MORT France
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
BRIDGES TO DREAMS Canada
BUNKUR Netherlands
BURIED INSIDE Canada
BURN DOWN ROME United Kingdom
BUTTERFLY TRAJECTORY Poland
CAINA United Kingdom
CALDERA France
CALLISTO Finland
THE CANCER CONSPIRACY United States
CANDIRIA United States
CAPRICORNS United Kingdom
CAPTURE THE SUN United States
CARNIVAL IN COAL France
CARONTTE Spain
CATACOMBE Portugal
CAVE IN United States
CELEBRITY SEX SCANDAL United States
CELESTINE Iceland
CHASE THE SUNSET United Kingdom
THE CHRONICLES OF ISRAFEL Canada
CHRYST Austria
THE CIRCLE ENDS HERE Italy
CIRUELO CILINDRICO Spain
CLERIC United States
CLOUDKICKER United States
COALESCE United States
COLD BODY RADIATION Netherlands
A COLD DEAD BODY Italy
COLDWORLD Germany
COME SLEEP Sweden
COMITY France
CONIFER United States
CONSECRATION Serbia
CORMORANT United States
COSMONAUTS DAY Russia
COUNTERVELA Ireland
CRIB45 Finland
CULT OF LUNA Sweden
D.U.N.E. Italy
DAKRYA Greece
DAMASCUS United States
DARK CASTLE United States
DARK SUNS Germany
DARKESTRAH Germany
DARKSPACE Switzerland
DAUGHTERS OF FISSION United States
DAY WITHOUT DAWN United States
DE OMEGA United States
DEADBIRD United States
DEADSOUL TRIBE United States
DEAFHEAVEN United States
THE DEATH OF HER MONEY United Kingdom
DECORTICA New Zealand
DEEP IN THOUGHT Germany
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
DØDSVERK 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
FLEURETY Norway
FLOOD THE DESERT United States
FOLLOW THE WHITE RABBIT Russia
A FOREST OF STARS United Kingdom
FORMLOFF Norway
FOUNTAINHEAD Germany
FROM OCEANS TO AUTUMN United States
FUTURIAN Canada
THE GABRIEL CONSTRUCT United States
GANON United States
GARDEN OF SHADOWS United States
GARY SUICIDAL KIDS COMMANDO France
THE GATHERING Netherlands
GENERATION OF VIPERS United States
GENGHIS TRON United States
GIANT SQUID United States
GIGANTIC BRAIN United States
GIRE Hungary
GLETSCHER Switzerland
GNAW THEIR TONGUES Netherlands
GODSEND Norway
GONIN-ISH Japan
GORDIAN KNOT United States
GOSPEL United States
THE GRASSHOPPER LIES HEAVY United States
GRAVITON United States
GRAYCEON United States
THE GREAT OLD ONES France
GREEN CARNATION Norway
HAIKU FUNERAL Multi-National
HAIL SPIRIT NOIR Greece
HALCYON Australia
HAMMERS OF MISFORTUNE United States
HAND United Kingdom
HARVEY MILK United States
HEIRS Australia
HELLAS MOUNDS United States
HERETOIR Germany
HIPOSPADIA Spain
HUMANFLY United Kingdom
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
KHEMEÏA France
KHOMA Sweden
KHUDA United Kingdom
KICK THE BUTTERFLY Australia
KINGDOM Belgium
KLABAUTAMANN Germany
KOLLWITZ Norway
KONG Netherlands
KONGH Sweden
KOSMOGRAD Canada
KRAKOW Norway
KRUGER Switzerland
KYLESA United States
LANDFORGE United Kingdom
LANTLOS Germany
LATITUDES United Kingdom
LEFT BRAIN United States
LENTO Italy
LESBIAN United States
LIGHT BEARER United Kingdom
LITHIUM DAWN United States
LÖBO Portugal
LOOK TO WINDWARD New Zealand
LORUS United States
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
MEMORIES OF A DEAD MAN France
MENISCUS Australia
MINDFOLD EXPRESS Bulgaria
MINSK United States
MIOSIS Sweden
THE MIRE United Kingdom
MIRRORTHRONE Switzerland
MISANTHROFEEL Russia
MOD FLANDERS CONSPIRACY United States
MOLOKEN Sweden
MOMENTUM Iceland
MONDRIAN OAK Italy
MONUMENTUM Italy
MORAINES Croatia
MORNE United States
THE MORNINGSIDE Russia
MORTIFERIA Norway
MOSE GIGANTICUS United States
MOSKAU Germany
MOUNTAINS BECAME MACHINES United Kingdom
MOUTH OF THE ARCHITECT United States
MUTYUMU Japan
MY SILENT WAKE United Kingdom
MYSTER MOBIUS Multi-National
MYSTIC Netherlands
NAHEMAH Spain
NAHRAYAN Spain
NANDA DEVI United States
NATIONAL SUNDAY LAW United States
NAUTICUS Finland
NEBRA Switzerland
NERO DI MARTE Italy
NEUMA Poland
NEUROSIS United States
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
ORANSSI PAZUZU Finland
ORDO DRACONIS Netherlands
ØRKENKJØTT Norway
ORPHANED LAND Israel
ORTHODOX Spain
OSI United States
OSTROVA Spain
THE OTHER SIDE OF THE SKY United States
OUTOPSYA Italy
OVERMARS France
ÖXXÖ XÖÖX France
PAN.THY.MONIUM Sweden
PANOPTICON United States
THE PAX CECILIA United States
PECCATUM Norway
PELICAN United States
PET SLIMMERS OF THE YEAR United Kingdom
PIKE Sweden
PINKLY SMOOTH United States
THE POSTMAN SYNDROME United States
PRISMA Switzerland
PROGHMA-C Poland
THE PROPHECY United Kingdom
PRYAPISME France
PSYCHOFAGIST Italy
PSYKUP France
PYRAMIDS United States
QUALEACEANS United Kingdom
QUARANTADUE Italy
QUBE Poland
QUESTIONER United States
RADAR Finland
RADIATION 4 United States
RAIN DELAY Serbia
RAINROOM Finland
RAXINASKY Belgium
RED PAPER DRAGON United Kingdom
REFRACTION Ireland
THE REPTILIANS United States
RETURNING WE HEAR THE LARKS United Kingdom
ROSETTA United States
ROUTE NINE Sweden
RWAKE United States
RYOKUCHI Japan
SAL Y MILETO Ecuador
SALVICTION Poland
SANNHET United States
SCHIZOID LLOYD Netherlands
SCORCHED SHORE United States
SECONDSKIN United Kingdom
SENMUTH Russia
SENSUAL NOISE Belgium
SEPIA DREAMER Sweden
SEVEN United States
SEVEN NAUTICAL MILES Sweden
SEVENTH EVIDENCE / KA.MMEN Ukraine
SHELS United States
SHELTER RED United States
SHELVING Switzerland
SHEPHERDS OF CASSINI New Zealand
SHRINEBUILDER United States
SIGH Japan
SIKA REDEM United Kingdom
SISARE Finland
SKAGOS Canada
SKEWED SKIES Germany
SLEEP MAPS United States
SLEEPING IN GETHSEMANE United States
SMALLMAN Bulgaria
SMOHALLA France
SNOWBLOOD United Kingdom
SO IS THE TONGUE United States
SOEN Multi-National
SOLSTAFIR Iceland
SONS OF ALPHA CENTAURI United Kingdom
SPRING & YOUTH Serbia
STALINGRAD Spain
STANDING OVATION Finland
STATS United States
STEAK NUMBER EIGHT Belgium
A STORM OF LIGHT United States
SUBROSA United States
SUBTERRANEAN MASQUERADE Multi-National
SUFFOCATE FOR FUCK SAKE Sweden
SUMAC Multi-National
SUNPOCRISY Italy
SUPERCONTINENT United States
THE SUSPENDED CONGRESS Ireland
SWARM OF THE LOTUS United States
A SWARM OF THE SUN Sweden
SWITCH OPENS Sweden
SYDERALUS Argentina
TACOMA NARROWS BRIDGE DISASTER United Kingdom
TARANTULA HAWK United States
TELEPATHY United Kingdom
TEMPEL United States
TENOCHTITLAN Russia
TEPHRA Germany
TERRA TENEBROSA Sweden
TESA Latvia
TETRAFUSION United States
THANATOSCHIZO Portugal
THENCE Finland
FREDRIK THORDENDAL'S SPECIAL DEFECTS Sweden
THY CATAFALQUE Hungary
TIDES United States
TIDES FROM NEBULA Poland
TIME ZERO United States
TITAN Canada
TODTGELICHTER Germany
TOMYDEEPESTEGO Italy
TOOL United States
TOUNDRA Spain
TOWN PORTAL Denmark
DEVIN TOWNSEND Canada
TRANSMISSION0 Netherlands
TREPHINE United States
TRIBES OF NEUROT United States
TROLDHAUGEN Australia
TRUTHSEEKER United States
TUSK United States
TWIN ZERO United Kingdom
UARAL Chile
UFOMAMMUT Italy
UNA CORDA United Kingdom
UNEXPECT Canada
UNHOLD Switzerland
UNSOUL Germany
UPRISING FORMALHAUT Ukraine
URNA Italy
USER NE Spain
VAKA Sweden
VAURA United States
VED BUENS ENDE Norway
VIRGIN BLACK Australia
VIRUS Norway
VISCERA/// Italy
VOID United Kingdom
VOID OF SILENCE Italy
VULTURE INDUSTRIES Norway
THE WATERS DEEP HERE United States
WE LOST THE SEA Australia
WE MADE GOD Iceland
WEAKLING United States
WHAT MAD UNIVERSE France
WHAT THE BLOOD REVEALED United Kingdom
WHEN DAY DESCENDS Australia
WHIRLING Sweden
WHOURKR Multi-National
WIDEK Poland
WINDHAM HELL United States
WINDMILLS BY THE OCEAN United States
WINDS Norway
ANDY WINTER Norway
WIZARD RIFLE United States
WOBURN HOUSE Germany
WOODS OF YPRES Canada
A WORKING MODEL United States
WORM OUROBOROS United States
WYTCHCRYPT United States
YAKUZA United States
YAVU Chile
YEAR OF NO LIGHT France
YOB United States
YTO SOLREISER Norway
ZEBULON PIKE United States
ZENI GEVA Japan
ZOZOBRA United States
ZVOYN France

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