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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 | 554 ratings
PART THE SECOND
Maudlin Of The Well
4.22 | 1122 ratings
LATERALUS
Tool
4.23 | 530 ratings
TERRIA
Townsend, Devin
4.20 | 462 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.34 | 95 ratings
IMAGINARY SONICSCAPE
Sigh
4.17 | 562 ratings
JUDGEMENT
Anathema
4.26 | 137 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.18 | 248 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.17 | 220 ratings
BATH
Maudlin Of The Well
4.16 | 235 ratings
IN A FLESH AQUARIUM
Unexpect
4.60 | 29 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.12 | 283 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.19 | 117 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult of Luna
4.19 | 107 ratings
SOL NIGER WITHIN
Thordendal's Special Defects
4.07 | 689 ratings
ĆNIMA
Tool
4.12 | 196 ratings
PANOPTICON
Isis
4.08 | 496 ratings
ALTERNATIVE 4
Anathema
4.67 | 23 ratings
FEA JUR
Lye By Mistake
4.09 | 291 ratings
THE MANTLE
Agalloch
4.09 | 280 ratings
MABOOL - THE STORY OF THE THREE SONS OF SEVEN
Orphaned Land
4.29 | 50 ratings
SOULS AT ZERO
Neurosis
4.03 | 751 ratings
WE'RE HERE BECAUSE WE'RE HERE
Anathema
4.06 | 290 ratings
SYNCHESTRA (THE DEVIN TOWNSEND BAND)
Townsend, Devin
4.06 | 223 ratings
S.U.S.A.R.
Indukti
4.06 | 229 ratings
OCEAN MACHINE: BIOMECH
Townsend, Devin
4.08 | 160 ratings
OCEANIC
Isis
4.16 | 74 ratings
SUSPENDED ANIMATION DREAMS
Subterranean Masquerade
4.04 | 244 ratings
ÉCAILLES DE LUNE
Alcest
4.06 | 169 ratings
WAVERING RADIANT
Isis
4.00 | 741 ratings
WEATHER SYSTEMS
Anathema
4.22 | 51 ratings
WRITTEN IN WATERS
Ved Buens Ende
4.08 | 110 ratings
THE PAINTER'S PALETTE
Ephel Duath
4.01 | 284 ratings
FABLES OF THE SLEEPLESS EMPIRE
Unexpect
4.08 | 101 ratings
OMNIO
In The Woods...
4.00 | 252 ratings
EPICLOUD (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.52 | 21 ratings
TűNő IDő TÁRLAT
Thy Catafalque
3.99 | 232 ratings
OFFICE OF STRATEGIC INFLUENCE
OSI
4.44 | 23 ratings
OPPORTUNISTIC THIEVES OF SPRING
Forest Of Stars, A
4.08 | 72 ratings
LEAVING EDEN
Antimatter
4.16 | 47 ratings
THE MALEDICTION FIELDS
Fen
4.04 | 98 ratings
IF_THEN_ELSE
Gathering, The
4.32 | 28 ratings
THE GALILEAN SATELLITES
Rosetta
4.64 | 14 ratings
MYSTER MÖBIUS
Myster Mobius
3.97 | 133 ratings
EPOCH
Fen
3.91 | 349 ratings
DECONSTRUCTION (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.19 | 32 ratings
UNDERSTANDING CONSEQUENCES
Day Without Dawn
3.97 | 109 ratings
NIGHTTIME BIRDS
Gathering, The
3.91 | 257 ratings
THE NEVER ENDING WAY OF ORWARRIOR
Orphaned Land
3.90 | 270 ratings
ADDICTED (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.83 | 10 ratings
ELIL
Fall of Efrafa
3.91 | 181 ratings
ACCELERATED EVOLUTION (THE DEVIN TOWNSEND BAND)
Townsend, Devin
4.00 | 65 ratings
PREHISTORICISMS
Intronaut
4.10 | 37 ratings
PAINTING ON GLASS
3rd And The Mortal, The
3.99 | 66 ratings
PRECAMBRIAN
Ocean, The
4.36 | 18 ratings
ABSOLUTE ZERO
Tetrafusion
3.95 | 84 ratings
THE FIRE IN OUR THROATS WILL BECKON THE THAW
Pelican
4.20 | 26 ratings
A SHADOWPLAY FOR YESTERDAYS
Forest Of Stars, A
4.50 | 14 ratings
TERRAFORMING
Postman Syndrome, The
3.94 | 92 ratings
VERTIKAL
Cult of Luna
3.93 | 103 ratings
SOUVENIRS D'UN AUTRE MONDE
Alcest
4.10 | 34 ratings
SEA OF THE DYING DHOW
shels
3.90 | 139 ratings
GORDIAN KNOT
Gordian Knot
3.90 | 131 ratings
HOW TO MEASURE A PLANET?
Gathering, The
3.92 | 93 ratings
PELAGIAL
Ocean, The
3.97 | 62 ratings
A SUN THAT NEVER SETS
Neurosis
3.84 | 453 ratings
A NATURAL DISASTER
Anathema
4.29 | 19 ratings
THE LOCUST YEARS
Hammers of Misfortune
4.08 | 34 ratings
EVE
Ufomammut
4.30 | 18 ratings
MANTIIS
Obsidian Kingdom
4.60 | 11 ratings
MICROCOSMOS
Thy Catafalque
3.97 | 57 ratings
TEETHED GLORY AND INJURY
Altar of Plagues
4.00 | 47 ratings
RÓKA HASA RÁDIÓ
Thy Catafalque
3.84 | 393 ratings
A FINE DAY TO EXIT
Anathema
3.95 | 65 ratings
OI MAGOI
Hail Spirit Noir
3.83 | 716 ratings
10,000 DAYS
Tool
3.86 | 179 ratings
ALL IS ONE
Orphaned Land
4.04 | 38 ratings
THE BEES MADE HONEY IN THE LION'S SKULL
Earth
3.84 | 289 ratings
GHOST (DEVIN TOWNSEND PROJECT)
Townsend, Devin
3.88 | 123 ratings
THE ACOUSTIC VERSES
Green Carnation
3.93 | 64 ratings
ANTHROPOCENTRIC
Ocean, The
3.86 | 144 ratings
MANDYLION
Gathering, The
4.71 | 9 ratings
MELANCHOLIE˛
ColdWorld
4.06 | 32 ratings
RENGETEG
Thy Catafalque
3.92 | 66 ratings
THE EYE OF EVERY STORM
Neurosis
3.83 | 260 ratings
KI (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.17 | 22 ratings
CARHEART
Virus
4.00 | 40 ratings
HEART OF THE AGES
In The Woods...
4.33 | 15 ratings
HEX: OR PRINTING IN THE INFERNAL METHOD
Earth
4.27 | 17 ratings
NOIR
Callisto
3.98 | 43 ratings
PLAINS OF THE PURPLE BUFFALO
shels
3.83 | 175 ratings
LES VOYAGES DE L'ÂME
Alcest
3.98 | 39 ratings
WHITE TOMB
Altar of Plagues
4.26 | 16 ratings
CENOTES
Giant Squid
3.91 | 62 ratings
GRAVE HUMAN GENUINE
Dark Suns
3.82 | 182 ratings
ASHES AGAINST THE GRAIN
Agalloch
3.96 | 42 ratings
THE IMAGINARY DIRECTION OF TIME
Winds
3.89 | 69 ratings
EXISTENCE
Dark Suns
3.83 | 148 ratings
IN THE ABSENCE OF TRUTH
Isis
3.82 | 167 ratings
MARROW OF THE SPIRIT
Agalloch
3.97 | 38 ratings
BLESSED ARE THE BONDS
Pax Cecilia, The

Experimental/Post Metal overlooked and obscure gems albums new


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

HEART OF THE AGES
In The Woods...
GORDIAN KNOT
Gordian Knot
IF_THEN_ELSE
Gathering, The
METRIDIUM FIELD
Giant Squid

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Latest Experimental/Post Metal Music Reviews


 Ghost (Devin Townsend Project) by TOWNSEND, DEVIN album cover Studio Album, 2011
3.84 | 289 ratings

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

Review by TCat
Prog Reviewer

4 stars This is what Devin Townsend sounds like with the wall of guitar layers taken out, lush, beautiful, soothing, relaxing. You could call it ambient, but it's not minimalism because most of the tracks here are very full and layered. The vocals are similar to the sound you hear in the song "Deep Peace" from his masterpiece album "Terria" but this time instead of one song, you get a full album of music that sounds like this. Some compare it to Enya's sound, and I suppose it is to some extent, but not as much as what others have suggested. The layering effect here is what reminds one of that Enya sound. Others call it New Age-y, but I disagree with this completely, except for the one throw away track "Monsoon" which is the one embarrassing track on here. This, for the most part, is music you have to be in the mood for, but when you are, it is some of the most heavenly music you will find, and it's coming from the same guy that plays music that puts your speakers and eardrums in danger, though always in an immensely pleasing way.

It's true that there isn't a lot of progressive metal here or progressive rock for that matter. But it is inventive and it's some of the best mellow music I have heard in a long, long time. Well produced and orchestrated, it floats along freely, sometimes surprising the listener with a few upbeat passages and songs, like in the title track (after an ambient opening) and "Blackberry" (which also incorporates a banjo and a driving Americana type beat) , but mostly soft with some of the most beautiful harmonics imaginable. Devin still incorporates layers in his vocals and occasionally uses female vocals in there too.

The atmosphere remains through the album, and even though I would rather hear an album from him that utilizes his various types of music because I would rather have variety, I still find this very enjoyable and relaxing. This album is part of a series of albums where Devin concentrates on one style throughout, and, in fact, this was released at the same time as the album "Deconstruction" which is the exact opposite of this album full of noise and over the top metal. Other albums in the series include a more poppier side or more experimental. I would rather hear them interspersed on an album together and then linked together inventively through ingenious composition methods. This is not driving music, and is really at it's most effective if you want to relax to lush soundscapes that really approach early Porcupine Tree instrumentals a lot more than it does new age music. I also hear some similarity to the more ambient works of Ulver, which anyone who has heard them knows that their music is much more inventive than just plain new age music, and that is the case with this album.

Simply beautiful is how to describe this album. Listen to it and let yourself get lost in it's lushness and layers of atmosphere. I can't quite give it 5 stars, because it is missing variety, but it is one of the best atmospheric albums I have heard that concentrates one type of music. 4.5 stars rounded down to 4 because of the variety issue. But I still love this!

 Part the Second by MAUDLIN OF THE WELL album cover Studio Album, 2009
4.24 | 554 ratings

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Part the Second
Maudlin Of The Well Experimental/Post Metal

Review by Horizons
Collaborator Post/Math Rock Team

5 stars 'When I left the sea and the brine and the undulating waves, the slight glow and shock still brushed against my flesh.'

That lyric serves as a poetic outline to this work of art. Part the Second invokes beautiful imagery with its ability to set the listener in a place of elemental dominion. Whether it is the music or lyrics on this album, I can't help but see myself on an island experiencing life in a totally new way. That's the power of Part the Second, it moves you.

Maudlin of the Well somehow both embarked on a new journey with this album as well as bringing another to a close. Previously unleashing the albums Leaving the Body Map and Bath, Maudlin of the Well were artistically established and were hitting their crest. But as shown with this release and the unpredictable evolutions that Kayo Dot would go on to experience, Toby Driver likes to progress, change, and experiment. This album would mark the end of the powerful Maudlin entity, giving the band another chance to blow listeners away, as well as signal the creation of the soon masterful Kayo Dot.

As on albums before, Toby Driver effortlessly weaves styles and genres together to make unique compositions and give Part the Second a harmonious identity of its own. Though you won't hear lengthy metal passages, growling, and the like the heavier influences still reside on this album, they're simply reined in a bit and are used as equally beautiful contrasts and turning points to the orchestral rock music found flowing throughout Part the Second. And like an orchestral piece, I feel this is one of those few albums that must be listened as a whole. While the songs don't so much flow together obviously, the emotions and recurring themes and sounds just build upon each other and just have a much stronger impact when you hear how the album dances and sings as a single piece of music.

The instrumentation on Part the Second is flawless. The violin and guitars that lead on this album are evocative, melodic, dark, inspiring, and interesting. You'll hear the mastery that is expected of progressive music. Drums illustrate and match the mood of every piece, giving the music the jolt it sometimes requires when the guitar takes a step forward, or being weightless when the violin cries and the music is more orchestral. The additional instruments including piano, flutes, and cello give Maudlin of the Well a wider arrangement of textures and touches to brighten the music. It's thanks to this kind of instrumentation that the music here has such an elemental feeling to it. All the compositions and structures can be easily compared to that of a stormy night, a relaxing sunrise, a cold rain, an August fire, anything. Part the Second becomes your own personal canvas.

A personal part of Toby Driver that I absolutely love and find sometimes overlooked, is his lyricism. Wonderfully poetic, Toby Driver's lyrics on this album enrich the music because of the similarities they share. Being focused on the natural world and the supernatural experiences with it, the relationship between the lyrics and music shine not in a parasitic way, where one dominates and relies on each other but rather a beneficial symbiosis. The vocals are sung with emotion and conviction. They sometimes are intimate and quiet as they speak to you or they can echo with an eerie pride. The strengths and balance of these parties elevates each other and add the journey of Part the Second's imagery.

All in all, Part the Second is not something that a Toby Driver fan should hear, a post-metal fan should hear, a progressive music fan should hear, no ' it is an album that any music fan should hear. Imagination and brilliant execution to back it up, Part the Second is a auditory experience that will bleed into every other sense.

'Like a stone I fell, and was engulf'd in winter darkness , silence filled each sphere that from my lips escaped and ceas'd but for a breath before rising to the surface and waves.'

 Z˛ by TOWNSEND, DEVIN album cover Studio Album, 2014
3.77 | 77 ratings

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Devin Townsend Experimental/Post Metal

Review by Alucard Draco

4 stars Well what can I say about possibly one of the busiest guys in music! I have pretty much most his music including the Strapping Young Lad years, so could this be a biased review or an honest one? Recently I have been following three bands - meaning pretty much getting all their back catalogue. Glass Hammer, Magma and Devin Townsend to me have created original sounding music and consistently keep releasing albums that never sound like they are sounding samey or not creating a new sound. When people say Glass Hammer are a modern day Yes, well does that mean they do good sounding Symphonic keyboard led sounds? Because the tunes themselves are vastly different from Yes which is a very important point.

So back to Devin's Z2, and yes unmistakably it is rather than any new type of sound it continues the same Townsend signature which is the Wall of Sound over many layers, but tune wise it's just so obviously different. Disc 1 is Sky Blue and any Epicloud fan will lap this up straight away as Pop Metal made like this is always going to be awesome. His style just keeps on being refined and tweaked to feel new but always that epic layered and addictive energy I so love in Devin's music.

So Disc 2 Dark Matters or Ziltoid the Omniscient part 2 is of the crazy and scary preference like the first Ziltoid the Omniscient album. One has to listen to this style so many times as I am just in awe at how much he crams into his songs - I mean the amount of instruments, samples, effects and background music in most of these songs is just incredible and hard to appreciate unless you listen to it multiple times and the fact that all this is thought up by pretty much one man is just mind blowing.

There are no unessesary fillers and you are just absorbed into his mind for Two hours and are just left breathless and wonder how a guy who seems to have written so many songs over the last couple of years and countless albums before them can keep on succeeding with quality of such a high standard just baffles my mind. So I should give this album five, but the problem is and it's a good problem is that his earlier albums like Terria and Ocean Machine and all of the Infinity experience is what I call perfect in every conceivable way stops this being a five, but believe me when I say this shows that Devin Townsend is definitely not slowing down and dipping in quality in any way.

I'll be seeing him on the Z2 tour and to hear this album live is going to be a mind blowing experience! So just keep on Progging and may good music live forever.

 Z˛ by TOWNSEND, DEVIN album cover Studio Album, 2014
3.77 | 77 ratings

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Devin Townsend Experimental/Post Metal

Review by progbethyname

5 stars If I were you I wouldn't hold back one little bit in order to explore and listen to this wonderful, detailed and creative piece of music that Mr. Devin Townsend has so spectacularly laid out here. It has become very clearly to me that Devin Townsend really uses his creative music guises to represent and showcase his unbelievably layered personality...or personalities I should say through his music. Townsend simply doesn't hold back on the emotional front. Certainly, the kind of music Devin has created with the Ziltoid series can deliver goose bumps and flat-out make you laugh all at once! That is what is so special and unique about his music, especially with the Ziltoid creation.

Z2 is a treasure and certainly one of the very best albums to come out in 2014. Expect that true Heavy-Devy loud sound where it seems everything on the sound console is set on "high". Not a big fan of that sound recording approach, but somehow for this particular record(s) "sky blue" and of course "Dark Matters" it works oddly enough.

Top honors for Z2. It simply just has that "ludicrous speed" to it that chugs in your brain for hours. You'll find yourself humming this album even in the most weirdest of places.

5/5

 Free by OSI album cover Studio Album, 2006
3.39 | 165 ratings

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Free
OSI Experimental/Post Metal

Review by TCat
Prog Reviewer

2 stars Kevin Moore from Dream Theatre, Jim Matheos from Fates Warning, guests Mike Portnoy also from Dream Theatre, Joey Vera from Armored Saint.....sounds like a powerhouse lineup that could produce some excellent heavy prog doesn't it? Well, in this case on this album, it doesn't produce the fireworks you would think it would. The songs here are good, but sort of lackluster for the most part.

Where the first OSI album was more guitar based, this one brings in more keyboards. Nothing wrong with that at all. In fact, there isn't really much wrong with most of the instrumentals other than there just isn't enough of them on this album, and the tired sounding, non-dynamic vocals from Kevin only bring down the mood and sound of the music. What you end up with is a bunch of mid-tempo, mostly lackluster songs when you should be getting a bunch of hard hitting music considering who is involved in this album.

Moore stated that this album feels more focused. Well, it is more focused and consistent, that is for sure. But that really is the downfall to this album. There are a few highlights where the music sounds like it might just take off, but something always seems to restrain it from doing so. This is also not an experimental album, the music is really quite straightforward, with not much in the way of dynamics or innovation. Vocals sound tired and the instrumentals sound restrained. The vocals have a strange processed sound to them and that comes from the doubletracking that is used.

The album was put together by Matheos sending Moore guitar parts that he made up and Moore would arrange them to fit into the songs. I can't help but think that the guitar parts might have had a little more life to them before they hit the chopping block. Now, it's not that I have anything against using more keyboards, I'm all for it in fact. But all the life just seems to be taken out of the music just so it matches Moore's vocals. I don't know why he decided to double track his vocals either, yes it does give a certain atmosphere to the music, and if the vocals were more dynamic, then it might work, but all it does here is deaden the music twice as much.

There are a few highlights here, the ones that break the mold of the same sounding songs like "Go", "Home Was Good" (which actually uses some very nice atmospheric keyboards to break up the usual sound), and "Better", but those tracks get lost in the sameness of the majority of the songs here. As much as I wanted to love this album, I am disappointed in that it seems that I can't wait for it to be over whenever I play it. I don't think this album is really worth the effort it might take to locate it, so I have to consider it a 2 star album. It's just too flat, boring and there really isn't anything that progressive about it.

 Physicist by TOWNSEND, DEVIN album cover Studio Album, 2000
2.95 | 119 ratings

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Physicist
Devin Townsend Experimental/Post Metal

Review by FragileKings
Prog Reviewer

2 stars Whenever I get into a band or artist and like them to the point that I decide to get all the studio albums I know there will be an album or two that fail to grab me. With other favourite bands like Rush, Yes, and Deep Purple, those albums tend to have been released between 1987 and 1990. With Devin Townsend, the album I like least is this one, an album that is almost unanimously one of his least impressive a midst a catalogue rife with impressive albums. The man himself counts this as his biggest solo effort flop and the backing band (the Strapping Young Lad guys) are also unanimous in their dislike for the album.

The problem is mostly with the production and not the music itself. Devin's early albums are not as fine tuned production wise as his later stuff; however, "Physicist" is really a muddied effort. The project was initially conceived by a joint venture with Jason Newsted who was with Metallica at the time, but Lars Ulrich and James Hetfield did not want any member of Metallica involved in projects outside the band. Devin decided to continue on his own and called in the members of Strapping Young Lad, Devin's flagship band, to record the music. His desire was to combine the bright pop metal of Def Leppard with thrash metal. The thrash element is there without a doubt. But the bright pop metal appears only in the form of some keyboards which in most cases do not work well with the rest of the music. Devin would later get the sound right on his Devin Townsend Project albums like "Epicloud", which features a much better version of the "Physicist" track "Kingdom".

If you listen to this album along with some other Devin Townsend albums or other modern prog albums, you will instantly notice that the sound quality is severely lacking. The other day, though, I listened to this album first thing in the morning while commuting to work and it sounded better than when placed against a background of superior recordings. The thrashier tracks likes "Namaste" and "Death" don't sound too bad if you like thrash metal. I also rather like how the keyboards add some melody to songs like "The Complex" and "Jupiter". "Kingdom" is good here. It's just that the song sounds so much better on "Epicloud" which I heard first.

The big "prog epic" here is said to be "Planet Rain". As the longest track it does have room to move and change rhythm and atmosphere, which it does in roughly four distinct parts, but I don't feel that it is anything particularly exciting. Perhaps for those who don't care for thrash too much this is a welcome respite. But compared to Devin's "Terria" and "Synchestra" or even "Biomech: Ocean Machine", this song needs some help.

Ultimately, this is a thrash metal album and there's not much here that illustrates Devin's more prog or post metal side. As a thrash album it's okay but the bright keyboards don't always improve the song quality. As a progressive album it seems that this is more of an experiment that didn't work out as well as it was intended. From time to time it's alright to listen through on its own. But Devin Townsend has much better music with much better production elsewhere.

 The Last Note in God's Magnum Opus by SCHIZOID LLOYD album cover Studio Album, 2014
4.00 | 3 ratings

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The Last Note in God's Magnum Opus
Schizoid Lloyd Experimental/Post Metal

Review by gothicelk

4 stars This is a message to ALL prog/avantgarde rock/metal funs. Don't miss this band! SCHIZOID LLOYD is an absolutely new name for me but its great that i found them. Seriously. In all these waves of 2-3nd tier prog bands its pretty hard to find something really interesting in our days. I just found. In case of this band 'SCHIZOID' (or better to say "a bit crazy, but not too agressive and unsocial") is a core word. Not enough insane like mighty Unexpect. Not so fun and lightweight as Diablo Swing Orchestra (and this is good). Far not so serious as Sleepytime Gorilla Museum. Sometimes sounds like a heavy version Samla Mammas Manna... Its pretty hard to describe their music and there are a lot of bands to compare with. Their sound is not unique but it shouldn be. This is just very good music. First of all abt their strong points. This is a very resolute debute. Looks like these guys exactly know what they are wanting to reach. But you as a listener might need to listen this album twice (at least) to understand their train of thoughts and do not miss all (sometimes very small) details and music's nuances. Like sitar's sound and good acoustic guitar work on Prodigal Son, that sometimes reminded me Hackett's music. Influence from other avant-gard bands? Sure! But this time its not just copy-pasting or mimicry. This is avant-garde with its own but still human face. Is it fun? You can be sure. Just look at track list. Suicide Penguin, Chicken Wing Swans etc. Music is even more jolly. Is it boring? Nope. Stylistics is changing from song to song and inside almost each song but in complex they are moving in one direction. Weak points. Not too much to note from my point of view. For me their music is not enough wierd for avant-garde. A bit raw material and sound but it a debute so its may be ok.

Well, this is NOT strong 4 stars, i think 3.75 is the better level for them if take this album as it is, without any excuse that it was debute. But it was. Moreover I still think that this debute is granting us some upside for band's future works. I hope so. So my verdict - 4 of 5 and good luck. P.S. sorry for my Engrish

 Falling Deeper by ANATHEMA album cover Studio Album, 2011
3.79 | 347 ratings

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Falling Deeper
Anathema Experimental/Post Metal

Review by Rodrigo Andrade7

4 stars At first, I wasn't scared of listening to this album, but I have to admit that I was a bit skeptical if this album would live up to the hype it had back in the day. Now that I've listen to this album so many times I think I could sum it up and just say that this is a masterpiece of our modern times (which it is) But it's way more than that, this album reaches your heart and doesn't go away. Everytime I hear this album, all kinds of good things comes up to my mind...good memories or not...this album inspires calmness everywhere, makes life seem beautiful. This album is a living proof that is possible to arrange kinds of music that are so opposite to each other, such professionalism and high level musicians, it's just brilliant. I'm a fan of light Anathema over dark Anathema, so it's no surprise that this album would be a highlight for me, I just simply love modern Anathema and this album is a fantastic vision of it for sure. A unique album.

4* Excellent addition to any prog rock music collection.

 Beware the Sword You Cannot See by FOREST OF STARS, A album cover Studio Album, 2015
4.08 | 6 ratings

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Beware the Sword You Cannot See
A Forest Of Stars Experimental/Post Metal

Review by Conor Fynes
Prog Reviewer

4 stars 'Beware the Sword You Cannot See' - A Forest of Stars (85/100)

(Originally written for Heathen Harvest Periodical)

With each new offering by British innovators A Forest of Stars, there comes the promise of challenge and reward in roughly proportionate measure. There's arguably more initial charm to them than many of the other sonic artisans that earn the 'avant-garde black metal' label, but the depth and density they've injected into their work since The Corpse of Rebirth demands each of their albums be approached with a patient, attentive ear. Beware the Sword You Cannot See is no exception in this regard; swirling layers of black metal once again form the foundation beneath an angel's choir of eccentric howls and violins. Now moreso than ever, their audacious grasp of composition pays homage in no small part to classic progressive rock. A Forest of Stars are psychotic, but accessibly so; while many of their tricks are shared with others in the avant-metal sphere, they navigate these treacherous waters with a sense of personality and coherence intact. Given that I know quite a few people who normally steer clear of the avant-garde for the perceived lack of those two things, A Forest of Stars have made a distinguished contribution to the experimental landscape.

Beware the Swore You Cannot See may very well be the most ambitious and monumental work A Forest of Stars have done to date too; possibly even better than their third full-length A Shadowplay for Yesterdays, a playful near-masterpiece that stole my heart a few years back. At this point in particular, calling A Forest of Stars a black metal band would be as fitting as referring to a poutine as 'french fries.' There's no question where the fundaments of their sound are coming from, sure, but the experience itself is different enough to warrant the description irrelevant. Though the same could be well-said for each of the four AFoS records to date, Beware the Sword You Cannot See sounds like the natural amalgamation of a number of influences, progressive rock not least of all included among them. My first listen had me placing them somewhere the capricious barrage of uneXpect, the dark wit of The Meads of Asphodel and the playful anxiety of Sigh; hell, it would be just as well to imagine them as the kind of music Comus might have made, had they formed as a metal band this side of the new millennium. Fortunately, in the case of A Forest of Stars, direct comparisons only go so far; they've carved out a distinct identity for themselves over the course of four records. Their destiny is not linked with any particular influence. Even in a genre so presumably forward-thinking as avant-garde metal, it's a lamentably rare thing to see.

Beware the Sword You Cannot See begins on one of its brightest moments. "Drawing Down the Rain" ranks among the best songs yet heard in 2015. Taking no time to get started, A Forest of Stars begin sounding closer to post-rock than the avant-garde. The soaring post-black atmosphere is complimented further by the violin, an instrument avant-metallers love to use but few ever manage to do so successfully. Especially early on in the album, much of the implication of AFoS's relative 'weirdness' lies in the eclectic styles and off-kilter vocal performance of Mr. Curse. With regards to the former, it is not uncommon for the band to shift gears several times throughout a song. Frantic bursts of black metal (replete with blastbeats and all else the term entails) are contrasted with slower passages that often recall Pink Floyd. The eclecticism culminates here on "Pawn on the Universal Chessboard", a would-be epic that, on top of the previous comparisons, conjures everything from Van der Graaf Generator to Moonsorrow. Variety alone would not have been enough to impress me, but the band's adventurous charisma manages to tie these strange bends in a way that sounds coherent and structured. Once again, that's not something you see everyday in avant-garde metal.

Although A Forest of Stars' performance is as well-rounded and powerful as ever, my highest praise is reserved for the album's vocals. Even amidst the music's most tender moments, Mr. Curse sounds like he's at the brink of a nervous breakdown. There are times when he nears the misanthropic rumblings of Metatron from The Meads of Asphodel; at others, he evokes the surreal sprechgesang of Current 93's David Tibet. Evocative lyrics remain a staple quality in A Forest of Stars' work. It is vulgar poetry of an obsessive sort, at once eager to immerse you in psychosis and anxiety.

A Forest of Stars are one such band that really benefits from their surrounding mythology and image, even though it doesn't have a particularly staunch impact on the music itself. Just like I can't listen to Akercocke without thinking of aristocratic upperclassmen, or The Meads of Asphodel without thinking of Medieval heretics obsessed with the nuances of Biblical apocrypha, A Forest of Stars have an undeniably British personality to them that is only amplified by their manufactured pseudo-Victorian image. Though the late 19th century is usually looked back upon as a time of apparent prudishness, it was probably better defined by its anxieties and confusion. Victorian England was a mania of new ideas and new experiences. It was a time where scientific elucidation was growing at a far greater rate than the education of the common man. It was a perfect time for ghosts and ghouls to be born. While I don't think A Forest of Stars have ever captured the Victorian era in their music (there weren't too many bands playing black metal in the 1890s anyways) but the visual and conceptual aesthetic compliments the creepy atmosphere perfectly.

2015 has already been rife with some incredible albums, and Beware the Sword You Cannot See is already poised to rank among the most memorable of them. A Forest of Stars have conjured another near-masterpiece, composed of equal parts horror and euphoria. Admittedly, the collection of styles they're playing with is a grocery list of what I like most in music, but it takes a special sort of band to get this eclectic and eccentric without losing sense of themselves. Beware the Sword You Cannot See is a marvellous piece of work, and even then, I don't think A Forest of Stars have hit their peak yet.

 Tellurian by SOEN album cover Studio Album, 2014
3.38 | 21 ratings

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Tellurian
Soen Experimental/Post Metal

Review by aapatsos
Special Collaborator Prog Metal and Heavy Prog Teams

3 stars Where Opeth, Tool and Katatonia meet

The title more or less sums it up for Soen's second album ''Tellurian'', which shows evolution compared to their debut ''Cognitive'' in a sense that the sound has escaped the ''I want to become Tool in the place of Tool'' character. In addition, this release sounds much more progressive to my ears, contrary to the largely alternative rock found in Cognitive. Unfortunately, what has not changed is the derivative nature of their music: in this release they seem to be borrowing heavily from Opeth (e.g. 'The Words' and 'Ennui') and Katatonia, rather than only Tool. The mix is pleasant atmospheric, progressive/alternative experimental metal with well-worked melodic vocals that would satisfy the progressive metal fan but shows some serious pitfalls. Mikael Arkefeldt, Jonas Renske and Maynard James Keenan would be proud of a number of compositions in ''Tellurian''.

Granted, the compositions are worked to detail, the production is spotless, the balance of melody and heaviness is well-struck and there are some absolute killer riffs (see 'Kuraman', the latter part of 'Koniskas' or 'The Other's Fall') that take this release above the average and leave significant hope for the future. On the other hand, this is something I have heard before and would prefer to revert back to the original material if I had the chance. The heavier moments suit Soen better; the mellower could sometimes sound a bit too... mellow. The next release might prove if Soen have some more original ideas to take their career further.

Recommended listening: Kuraman, Void.

Thanks to Freeman Productions for the promo.

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