Header

EXPERIMENTAL/POST METAL

A Progressive Rock Sub-genre


From Progarchives.com, the ultimate progressive rock music website

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 | 564 ratings
PART THE SECOND
Maudlin Of The Well
4.22 | 1164 ratings
LATERALUS
Tool
4.21 | 544 ratings
TERRIA
Townsend, Devin
4.20 | 479 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.33 | 98 ratings
IMAGINARY SONICSCAPE
Sigh
4.27 | 142 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.17 | 575 ratings
JUDGEMENT
Anathema
4.20 | 259 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.18 | 227 ratings
BATH
Maudlin Of The Well
4.17 | 237 ratings
IN A FLESH AQUARIUM
Unexpect
4.60 | 29 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.13 | 288 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.18 | 121 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult of Luna
4.19 | 108 ratings
SOL NIGER WITHIN
Thordendal's Special Defects
4.08 | 708 ratings
ĆNIMA
Tool
4.11 | 297 ratings
THE MANTLE
Agalloch
4.13 | 204 ratings
PANOPTICON
Isis
4.08 | 506 ratings
ALTERNATIVE 4
Anathema
4.10 | 282 ratings
MABOOL - THE STORY OF THE THREE SONS OF SEVEN
Orphaned Land
4.64 | 23 ratings
FEA JUR
Lye By Mistake
4.08 | 298 ratings
SYNCHESTRA (THE DEVIN TOWNSEND BAND)
Townsend, Devin
4.29 | 53 ratings
SOULS AT ZERO
Neurosis
4.03 | 759 ratings
WE'RE HERE BECAUSE WE'RE HERE
Anathema
4.14 | 104 ratings
THE PAINTER'S PALETTE
Ephel Duath
4.08 | 165 ratings
OCEANIC
Isis
4.06 | 227 ratings
S.U.S.A.R.
Indukti
4.08 | 172 ratings
WAVERING RADIANT
Isis
4.17 | 74 ratings
SUSPENDED ANIMATION DREAMS
Subterranean Masquerade
4.05 | 243 ratings
ÉCAILLES DE LUNE
Alcest
4.04 | 281 ratings
FABLES OF THE SLEEPLESS EMPIRE
Unexpect
4.01 | 751 ratings
WEATHER SYSTEMS
Anathema
4.52 | 23 ratings
TűNő IDő TÁRLAT
Thy Catafalque
4.22 | 51 ratings
WRITTEN IN WATERS
Ved Buens Ende
4.02 | 256 ratings
EPICLOUD (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.08 | 102 ratings
OMNIO
In The Woods...
4.01 | 242 ratings
OCEAN MACHINE: BIOMECH
Townsend, Devin
4.00 | 238 ratings
OFFICE OF STRATEGIC INFLUENCE
OSI
4.42 | 24 ratings
A SHADOWPLAY FOR YESTERDAYS
Forest Of Stars, A
4.38 | 25 ratings
OPPORTUNISTIC THIEVES OF SPRING
Forest Of Stars, A
4.04 | 101 ratings
IF_THEN_ELSE
Gathering, The
4.17 | 46 ratings
THE MALEDICTION FIELDS
Fen
4.45 | 21 ratings
BEWARE THE SWORD YOU CANNOT SEE
Forest Of Stars, A
4.30 | 29 ratings
THE GALILEAN SATELLITES
Rosetta
4.07 | 72 ratings
LEAVING EDEN
Antimatter
3.95 | 353 ratings
DECONSTRUCTION (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.14 | 48 ratings
TEETHED GLORY AND INJURY
Altar of Plagues
4.57 | 16 ratings
MYSTER MÖBIUS
Myster Mobius
3.98 | 127 ratings
EPOCH
Fen
3.95 | 190 ratings
ACCELERATED EVOLUTION (THE DEVIN TOWNSEND BAND)
Townsend, Devin
3.96 | 115 ratings
NIGHTTIME BIRDS
Gathering, The
4.20 | 31 ratings
UNDERSTANDING CONSEQUENCES
Day Without Dawn
4.77 | 11 ratings
ELIL
Fall of Efrafa
3.97 | 92 ratings
VERTIKAL
Cult of Luna
4.03 | 60 ratings
OI MAGOI
Hail Spirit Noir
4.01 | 67 ratings
PREHISTORICISMS
Intronaut
3.99 | 69 ratings
PRECAMBRIAN
Ocean, The
4.36 | 18 ratings
ABSOLUTE ZERO
Tetrafusion
4.10 | 37 ratings
PAINTING ON GLASS
3rd And The Mortal, The
4.50 | 14 ratings
TERRAFORMING
Postman Syndrome, The
3.95 | 86 ratings
THE FIRE IN OUR THROATS WILL BECKON THE THAW
Pelican
3.92 | 127 ratings
CASUALTIES OF COOL
Townsend, Devin
3.94 | 95 ratings
PELAGIAL
Ocean, The
3.88 | 254 ratings
THE NEVER ENDING WAY OF ORWARRIOR
Orphaned Land
4.04 | 47 ratings
RÓKA HASA RÁDIÓ
Thy Catafalque
3.98 | 65 ratings
A SUN THAT NEVER SETS
Neurosis
4.27 | 21 ratings
THE LOCUST YEARS
Hammers of Misfortune
4.09 | 35 ratings
SEA OF THE DYING DHOW
shels
3.92 | 105 ratings
SOUVENIRS D'UN AUTRE MONDE
Alcest
4.57 | 12 ratings
MICROCOSMOS
Thy Catafalque
3.90 | 140 ratings
GORDIAN KNOT
Gordian Knot
3.90 | 135 ratings
HOW TO MEASURE A PLANET?
Gathering, The
3.87 | 275 ratings
ADDICTED (DEVIN TOWNSEND PROJECT)
Townsend, Devin
3.85 | 462 ratings
A NATURAL DISASTER
Anathema
4.03 | 42 ratings
THE BEES MADE HONEY IN THE LION'S SKULL
Earth
3.96 | 65 ratings
ANTHROPOCENTRIC
Ocean, The
3.86 | 294 ratings
GHOST (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.10 | 31 ratings
EVE
Ufomammut
3.83 | 733 ratings
10,000 DAYS
Tool
4.26 | 19 ratings
MANTIIS
Obsidian Kingdom
4.05 | 36 ratings
RENGETEG
Thy Catafalque
3.84 | 403 ratings
A FINE DAY TO EXIT
Anathema
3.87 | 149 ratings
MANDYLION
Gathering, The
3.88 | 124 ratings
THE ACOUSTIC VERSES
Green Carnation
4.71 | 9 ratings
MELANCHOLIE˛
ColdWorld
4.00 | 43 ratings
PLAINS OF THE PURPLE BUFFALO
shels
3.84 | 269 ratings
KI (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.01 | 41 ratings
HEART OF THE AGES
In The Woods...
4.29 | 17 ratings
CENOTES
Giant Squid
3.99 | 45 ratings
THE IMAGINARY DIRECTION OF TIME
Winds
3.83 | 345 ratings
FALLING DEEPER
Anathema
4.16 | 23 ratings
CARHEART
Virus
3.92 | 67 ratings
THE EYE OF EVERY STORM
Neurosis
4.27 | 17 ratings
NOIR
Callisto
3.84 | 166 ratings
ALL IS ONE
Orphaned Land
3.83 | 186 ratings
ASHES AGAINST THE GRAIN
Agalloch
3.84 | 169 ratings
LES VOYAGES DE L'ÂME
Alcest
3.95 | 47 ratings
IN SOMNIPHOBIA
Sigh
4.24 | 17 ratings
HEX: OR PRINTING IN THE INFERNAL METHOD
Earth
3.90 | 67 ratings
EXISTENCE
Dark Suns
4.19 | 19 ratings
THE RITUAL FIRES OF ABANDONMENT
Minsk

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

BLESSED ARE THE BONDS
Pax Cecilia, The
IN A FLESH AQUARIUM
Unexpect
IRLYA - IL Y A -
Mutyumu
POWER HÖR
Lesbian

Download (Stream) Free Experimental/Post Metal MP3


Open player in a new window

Download (Stream) Free Experimental/Post Metal MP3

Latest Experimental/Post Metal Music Reviews


 Falling Deeper by ANATHEMA album cover Studio Album, 2011
3.83 | 345 ratings

BUY
Falling Deeper
Anathema Experimental/Post Metal

Review by Prog Leviathan
Prog Reviewer

4 stars If you love the modern Anathema sound - lush, sweeping, lovely, melancholic, cathartic - then Falling Deeper is a great supplementary addition to your library. If you don't love Anathema's sound, well then I sort of feel sorry for you, because you're missing out on one of the most beautiful voices in modern art rock. Though Falling Deeper is an instrumental re imagining of the band's older material, it stands up excellently alongside the group's recent material.

Falling Deeper utilizes sparse, mid to slow tempo palettes of sound that are made achingly emotional by use of acoustic instruments and orchestration. The moods shift between the nostalgically romantic, grief stricken, somnolent, and bereft. These are my interpretations of what is largely instrumental music, and as I think about it I realize how unappealing this might make Falling Deeper sound to those on the fence; however, that shouldn't dissuade you if you're looking for a subtle and sensation-rich album to add to your library.

Cavanaugh and the band treat us again with excellent performances, mature compositions, and genuine pathos. Recommended, though new fans to Anathema should definitely check out their more "normal" albums first.

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

 Graveward by SIGH album cover Studio Album, 2015
3.83 | 11 ratings

BUY
Graveward
Sigh Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Graveward" is the 10th full-length studio album by Japanese extreme metal act Sigh. The album was released through Candlelight Records in April 2015. It´s the successor to "In Somniphobia" from 2012. Formed in 1990 Sigh is widely considered one of the leading extreme metal acts from Japan. They´ve gone through several musical phases, and have experimentet a lot with their sound, but has always maintained a basis of blackened thrash/speed/heavy metal.

That´s also the case on "Graveward", which reeks old school heavy metal, thrash- and speed metal, but combines those vintage musical elements with an avant garde approach. Again that´s what we´ve come to expect from Sigh, and in that respect "Graveward" is just another day at the office for Sigh. But when that is said Sigh as usual twists their core style, and makes sure that their listeners leave the listening session with an expression of surprise on their faces. "What the Hell just happened There"?

Keyboards/synths/organ played in symphonic style, hard rock style, and eerie horror effect style, raspy aggressive vocals complimented by higher pitched power/traditional heavy metal vocals, and occasional use of operatic female vocals, handclaps, programming/samples, saxophone, neoclassical leanings/themes, melodic guitar solos, and some lounge jazz sections, just to mention some of the features which compliment the more traditional heavy/speed/thrash metal basis of the band´s sound. It´s often arranged in a multi-layered style, which keeps the listener on his/her toes. The core of the band´s sound isn´t that complex, but the clever and quite challenging arrangements are intricate to say the least. The surprising combination of elements and styles sometimes leaves the listener in bewilderment. For example on "The Tombfiller", which sounds a bit like Yngwie Malmsteen meets Venom put through an avant garde grinder, or "The Casketburner" which is also a highly eclectic track.

The musicianship is on a high level. It´s all very organic, and even when the drums play something almost painfully simple and the guitar riffs play a rather generic speed/heavy metal riff, you always have the feeling, that these guys are consciously holding back and just having fun. They are completely in control of the stylistic elements required for the various sections of their music.

"Graveward" is a well produced album with a pretty raw and organic sound on the bass, guitars, and drums, while all things on top of the basic instruments aren´t as old school produced. Upon conclusion "Graveward" is yet another high quality release by Sigh. It´s an album you can listen to multible times, and still find new details, but it´s still hard rocking enough to not become too intellectual for it´s own good. Sigh as always strike a good balance between old school heavy/speed/thrash metal and avant garde. A 4 star (80%) rating is deserved.

 Capture Of Ziz by QUALEACEANS album cover Studio Album, 2014
3.67 | 2 ratings

BUY
Capture Of Ziz
Qualeaceans Experimental/Post Metal

Review by assasinan

3 stars In order to compose experimental pieces of music, there's no need to achieve some kind of virtuosity in instrumental bases. So, from a listener's perspective, experimental/chaotic musical creations are far more suitable for mirroring athmospheres and feelings wanted to reflect artistically. That doesn't mean that any attempt to improve "the quality" of experimentation. In krautrock (or prog) legacy, there are many musicians (Irmin Schmidt, Holgar Czukay, R. Fripp etc.) tried hard to achieve transcendence. However, this transcendence, to me, doesn't proceed in a way from inferiority to superiority nor vice versa.

I've just finished listening to this album. It is very precious attempt to combine celestial elements with psychedelic improvisation in metal sound. At the same time, it is very brave understanding to keep randomness while trying to reflect feelings. Mysterious Qualeaceans should be given credit for having enough courage to bend metal music. After krautrock movement and its successors, we rarely had chances to encounter this kind of aesthetical insight. Unfortunately post-metal has long way to gain ground. And Qualeaceans is not an exception. In the album, I could capture few moments but pure randomness. I can't say that Capture Of Ziz satisfied me as it psyched me out when I saw such self-expressions as krautmetal or metal in opposition. But I'll be waiting for next album enthusiastically.

 Tellurian by SOEN album cover Studio Album, 2014
3.29 | 27 ratings

BUY
Tellurian
Soen Experimental/Post Metal

Review by Mellotron Storm
Prog Reviewer

3 stars I can't figure out why this album isn't resonating with me. Certainly bands like TOOL, OPETH, RIVERSIDE and KATATONIA come to mind when playing this album and they are all bands I enjoy but this just isn't clicking with me for some reason. SOEN is a Swedish band and this is their second studio album. They have a new bassist and drummer for this one and it is significant that ex-OPETH drummer Martin Lopez is the drummer this time around. The cover art is different and I can't say i'm a fan of it but with two vegetarians in the band it is kind of humerous with this rino sitting down to eat all these mini humans.

"Komenco" is a short intro to "Tabula Rasa" and we get this tribal drumming with guitar expressions to start before it all turns fuller as it blends into track two. I like when the vocals stop each time and I can focus on the instrumental work. A calm before 4 minutes which lasts to the end and it includes reserved vocals. "Kuraman" is fairly uptempo to start but it settles back when the vocals arrive well before a minute. It kicks back in and I really like the heaviness half-way through this song. I love the tone of the guitar to start the next track called "The Words". Laid back vocals join in and we get strings as well 2 1/2 minutes in and later after 5 1/2 minutes. Sad and beautiful sections.

"Pluton" opens reminding me of OPETH because of the drumming not so surprisingly. It does settle back though when the vocals arrive. The guitar grinds it out over top. A calm follows and themes are repeated in this one. "Koniskas" is my favourite. Relaxed vocals and guitar early on then the drums and chunky bass are added. I'm reminded of RIVERSIDE here. Love the instrumental section from 3 1/2 minutes to almost 4 minutes when the vocals return with some passion. Nice. "Ennui" has a great intro but it settles back quickly and vocals join in. Some emotion in those vocals after 4 minutes. Love the heavy ending as well. "Void" is another mid-paced tune with plenty of vocals. I really like the bass 4 1/2 minutes in and the mellow section after 6 minutes. "The Others Fall" is a pretty cool track especially the bass/ drum sections. Although check out the guitar/ drum passage 2 1/2 minutes in.

I wish there were some experimental sections and more heavier passages but also that the vocals were more adventerous and emotional like the way Maynard James Keenan sings.

 Capture Of Ziz by QUALEACEANS album cover Studio Album, 2014
3.67 | 2 ratings

BUY
Capture Of Ziz
Qualeaceans Experimental/Post Metal

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars QUALEACEANS is a strange metal band emerging from who knows where. There is scant info regarding their identities or even geography of origin. I've only seen one reference to South Georgia & The Sandwich Islands on RYM and since the population there is about 20 and they are most likely Antarctic researchers, either these guys got really bored with all those penguins and needed to create some avant-garde metal OR the more likely scenario of this band wanting to remain mysterious by not revealing anything about themselves. They DO, however, have quite a bit to say about their music.

They call it metal in opposition, krautmetal, space metal, free metal and polystylist metal. I guess there are aspects of all the prog rock counterpoints heard on this sprawling 78 minute single track however this is really more of a sludgy post metal for much of it. It churns on and on and on with ever repeating dissonant riffs like a tidal wave originating in the middle of the ocean and undulating ceaselessly until crashing against the shore. The minor variations contained within this rhythmic pulsating bombast are what spices it up and give it some flavor.

About 3/4 the way through they drop the metal altogether and we get a nice spacey ethnic flavored psychedelic section that meanders on for several minutes until the riffing metal fury fires back up and picks up its intensity complete with dissonant lead guitars accompanying the thundering riffs until the tidal wave of aggression finally crashes against the shore ending the lengthy journey. The result of this extravaganza of unrelenting musical activity leaves one bewildered and wondering what they just listened to!

Overall this is a very repetitive and hypnotic noisefest reminding me in a way of the early no wave of Swans but there is ultimately enough variation bubbling underneath at any given moment to keep the listener entertained, however i do have to admit that at 78 minutes the attention span does tend to wander. I found this to be great music to surf the web to while mindlessly poking around but to listen to this actively on a regular basis might drive you maaaaad! CAPTURE OF ZIZ is quite the interesting debut album and leaves me wanting to hear more from this metal band that could be compared to bands like Unexpect in its sheer audacity to delve into the experimental but the overall song structure isn't quite as interesting to my ears.

An unusual album that needs to be experienced. If you love strange and experimental metal accompanied by all kinds of non-metal instruments with aggressive hypnotic dissonant and distorted guitars chugging away for over an hour with some long drawn out transitions into space and back then you can't go wrong with this one.

 Synchestra (The Devin Townsend Band) by TOWNSEND, DEVIN album cover Studio Album, 2006
4.08 | 298 ratings

BUY
Synchestra (The Devin Townsend Band)
Devin Townsend Experimental/Post Metal

Review by Wicket
Prog Reviewer

5 stars By far, the most cohesive of all Devin Townsend's albums, and also the most diverse, sonically and musically.

This by far is the trickiest album of Devin's by far to pigeonhole into a certain theme or story. It starts off with beautiful acoustic themes, with "Let It Roll" almost channeling a historic American folktune, while "Hypergeek" transitions from the acoustic to a child-like arpeggio that layers the guitars and drums and reverb to crescendo into "Triumph".

There's definitely a lot of references to childhood melodies, as evidenced by "Babysong" and "A Simple Lullaby", which are self-explanatory: long, reverb filled soundscapes with hypnotic, entrancing melodies that sway with waltz like motives. And frankly, it's very calming considering this album was recorded after making "Alien" with Strapping Young Lad", an album he prepared for by purposely not taking the medicine required to treat his bipolar disorder. So in a sense, this album is supposed to be the exact opposite of it, and it really feels it.

That's not to say this album is lacking in heat, though. The cheesy "Vampolka", despite being cheesy, is a fun minute and a half of surf guitar and polka, segueing into the much heavier counterpart "Vampira", grooving and chugging along like the theme to a bad "Twilight"spinoff series.

Although there are interludes like "Mental Tan" to bring you back down to earth, and "Gaia" which channels "Accelerated Evolution's penchant for catchy songs with reverb out the wazzoo and wonderfully heavy melodies, you can tell there's still a conflict with Devin's angrier half that just finished "Alien" with SYL, and that anger is very prevalent in "Vampira", the Middle-Eastern tinged "Pixillate" (my favorite off the album), and the end of "A Simple Lullaby". The whole album is a huge tug of war between Devin's bipolarity, the album in his entire discography where this conflict is most prevalent. "Judgement" is another bombastic piece, but the happy mood here, much like the rest of the album, is occasionally displace by outbursts of anger and hate, especially at the end of "A Simple Lullaby" (where the main theme is interrupted by Townsend's "Ready, Steady, Aim, Fire!" line).

Overall, though, it's a much happier album than most of Townsend's other records, while still maintaining some heavy outbursts, catchy reverb songs and plenty of proggy goodness. Definitely the first album I'd recommend to a non-Devin fan. This entire album is a summary of his multi-faceted musical style in a nutshell. An absolutely brilliant masterpiece of insanity, progressiveness and just good ol fashioned metal.

 Accelerated Evolution (The Devin Townsend Band) by TOWNSEND, DEVIN album cover Studio Album, 2003
3.95 | 190 ratings

BUY
Accelerated Evolution (The Devin Townsend Band)
Devin Townsend Experimental/Post Metal

Review by Wicket
Prog Reviewer

5 stars I have a feeling that amongst Townsend fans, each listener would either prefer "Terria' or "Accelerated Evolution", one or the other, because although both share in their colossal amounts of reverb, both albums are structure very differently.

"Terria" is vast, grandiose, quick moments of bombast interspersed with vast wastelands of atmosphere and synth overlays. "Accelerated Evolution" is more concise, taking that same bombast and open space and constricting it betwixt catchy verses and choruses.

I'm not saying "Terria" is minimalist by any stretch, but I find myself listening to "AE" much more often than the former. "Depth Bomb" is a perfect example. Right away, it's loud, it's fast paced, it's catchy, and it can easily make its way onto your daily workout playlist. "Storm" takes that same energy and slows down the speed almost into a waltz like feel, with Townsend's falsetto's and screams soaring above huge synths and pounding drums.

And that to me is my only little niggle with "Terria". On songs like "Mountain" and "Earth Day", the action happened immediately for a brief couple minutes or so, then faded away into the musical equivalent of a prairie. "Deadhead" for example starts off the exact opposite way. The lone reverbed guitar builds the tension to the point when the drums come in, it creates a musical effect akin to the scene of an arriving war machine, or something out of Star Wars with the Star Destroyer hovering into view. And through that effect, my attention is still maintained, because even though it is a fairly minimalist song, you know what you're getting for the next 8 minutes: reverb, falsetto, loud synths. This main theme continues for 4 minutes before the drums fade out, then the guitars introduce a B theme for a couple minutes, and then drums segue back to the A theme and closes the song out with the verse Townsend sings in the beginning.

And that's kinda of the thing with "Deadhead" and "Awake". They're both structured the same way, so when you listen to them, they become predictable, and thus, more enjoyable (if there was an oxymoron). But I do find myself listening to these songs while I'm driving, which I can't say for any songs off of "Terria" (yet, I'm still working on that).

This album is essentially the best combination of the catchy songs of "Biomech", with the massive reverb of "Infinity" and the colossal space and air of "Terria", all in digestible chunks. It's the best of all worlds. "Suicide" is a bare-knuckled brawler, filled with a haunting dissonant theme humming through the echoing air, while "Traveller", "Sunday Afternoon" and "Slow Me Down" are essentially the equivalent of pop-rock songs with so much more heart and texture than anything else. Basically, these are songs that make you feel like a badass when you drive along listening to them.

The way I look at DT albums, I look at them like progressions, like you can imagine Townsend finishing "Terria", releasing it, then looking back on it saying "Ya know, that was pretty good, but I think I can do better." And thus "Accelerated Evolution" was born. And honestly, I thank you for making that decision, good sir. It's just such a happy album, a musical experience that just bathes you in reverb and sound and good vibes. One of my all time favorites.

 Z˛ by TOWNSEND, DEVIN album cover Studio Album, 2014
3.80 | 88 ratings

BUY

Devin Townsend Experimental/Post Metal

Review by Wicket
Prog Reviewer

5 stars The main criticism behind this album seems to be an overall agreement in bombast over substance.

And I strongly disagree, because in all honesty, there wasn't a whole lot of substance on the first album.

I won't knock it, I enjoy the humor of the first Ziltoid album, but eventually the album morphed from telling an incomprehensible story about an alien invasion and coffee to just the ending of "Biomech", length and bombast with no substance or continuation of plot. The ending of the album frankly fell on its face.

Here I think Devin decided to correct that error. Knowing the Ziltoid plot would eventually just descend into nonsense (as all Townsend stuff does), he decided to focus more on bombast, more orchestral samples, more choirs and backing vocals, more loud, more raw, more everything. The perfect recipe for any soundtrack to a movie (real or otherwise). I understand that this strategy won't appeal to everyone, but frankly, I think it just makes the quality on this album much better. The album transitions much more cleanly from song to song. "Z2" actually sounds like an overture, rather than just the cartoonish 30 seconds of hell from "ZTO", and overture that continues with "From Sleep Awake". Rather then just a few songs stuck together with narration to make it sound like a concept album, the songs actually flow better and connect seamlessly. Overall, the production is just better, and that alone makes this album worthy of the extra star.

And while there may be a hint of humor lacking from the sequel, there's more of a sense of urgency, more drama. "War Princess" signals a forthcoming war, and as such, the tempo chugs along with thick, bassy drums, reverbed guitars and triumphant, echoing string samples and vocals. It's a war march, and it sound like it. "Deathray" is the equivalent to "Ziltoidia Attaxx!" from Z1, but instead of just downtuned guitars, chugging riffs and blastbeasts, it's a bit more sophisticated than that. It sounds more like a battle tune and not just a meat-headed breakdown. It just sounds like Devin put more time into this album than the first Ziltoid (which explains the blog post on his website saying that Z2 took a lot out of him and that he was nearly exhausted when it was all said and done).

Overall, the album doesn't sound like it was recorded in a tin can like Ziltoid 1. Yes, it's also more serious than the first, but that also makes it better, like it or not. It's an album that actually carries my full attention to the very end, an album that actually continues a somewhat follow able plot line to the every end! But honestly, it's not a surprise. I had a feeling if Townsend was going to do a sequel to Ziltoid, he'd make it bigger, badder and better. And by god, did he succeed.

But of course, there is a second album to be had here, which ironically, is the first.

Dubbed "Sky Blue", this is another atmospheric, reverb-tastic album full of catchy melodies and brutal riffs, which "Rejoice" begins with (with Anneke van Giersbergen once again providing some fantastic and haunting vocals). Think the bombast of "Epiclouder" meeting the colossal reverb and noise of "Accelerated Evolution", and you've basically summed up this disc. It's brilliant. Catchy choruses ("Fallout"), beautiful soaring melodies ("Midnight Sun"), and atmospheric ballads ("Rain City"). This disc is nothing to sneeze at either. Although with this disc I might have given just 4 stars, together with Z2, this whole thing is just another big, stupid, loud spectacle, which, in Townsend's world, equals a masterpiece. Just another ruckus, hilarious take on metal and everything else.

 Epicloud (Devin Townsend Project) by TOWNSEND, DEVIN album cover Studio Album, 2012
4.02 | 256 ratings

BUY
Epicloud (Devin Townsend Project)
Devin Townsend Experimental/Post Metal

Review by Wicket
Prog Reviewer

4 stars Addicted 2.0?

That's kinda what it sounds like. The unmistakable gospel choir "Effervescent!" heralds in a positively positive "True North", which literally couldn't sound more like the happiest song ever if you tried. Until halfway in where the choir and the reverb and the screams and orchestral samples come int. Then it sounds exactly like "Deconstruction".

Even just from this first sample of this album, it's obvious that multiple influences are in full force on this album, and yet have become so commonplace that it's part of Townsend's signature sound, and only oddball experimentations with the darker, more somber aspects of music (off "Ki") tend to be one-offs unto themselves.

When the catchy "Lucky Animals" kicks in, I'm reminded of "Bad Devil" off "Infinity", and this album really does seem to sound like a newer interpretation of the album, and thus the comparisons between the material on "Infinity" and this album are uncanny (except perhaps less reverb on here than on "Infinity", which is surprising). But a big difference does seem to come from a more focused attempt on songwriting over sheer "drown out your ears in a sea of reverb". "Liberation" seems like a perfect example. It sounds like another pop-rock song that's waiting for a huge dose of guitar reverb to drown out your soul, but the echo is more reserved for the vocals, perhaps in a more bombastic spectacle, but frankly more effective on this type of song than just pure guitar chords. Not to mention it's another happy sounding song.

"Where We Belong" takes the foot off the bombastic pedal for a bit and actually tries to ballad its way to your heart, and isn't a bad attempt at all. It's a little reminder of "Biomech", DT's first solo album, where the first half of the album focused on creating catchy, beautiful tunes and use a hint of echo and reverb to create an angelic atmosphere that just washes over you and completely sucks you in to the music and never lets you go. "Save Our Now" meanwhile sounds like Townsend's take on a modern day anthem rock track.

Then interestingly, we get to "Kingdom", a remake off DT's "Physicist" album of 2000, and frankly a surprise track to here following a cushy, radio-friendly song like "Save Our Now". While I personally love "Kingdom" (and frankly, the entire album of "Physicist"), it almost feels to reverb-y and too heavy chord wise for this album, although it absolutely makes sense from a bombastic point of view, which is definitely the theme of this album, I've decided. But perhaps it's just for the contrast, as "Divine" which follows it is a mellow ballad accompanied by Townsend's voice, along with backing vocals and some synth electronics.

And while "Grace" starts off mellow as well, it's not long before the distorted guitar chords and drums kick in and create another bombastic and brutal spectacle, once again headlined by DT's classic dissonant progression (which is actually a major seventh, in music theory terms.Not necessarily dissonant, but with the constant emphasis on the dominant, which is B natural on this track, the major seventh following the "Grace" chorus sounds dissonant until the progression decends a half step each time before the choir hits the major fifth, and the cycle repeats again).

And frankly the bombast continues, with the rip-roaring "More!", while "Lessons" channels a bit of neo-classical Tenacious D acoustic picking, while "Hold On" begins as a down-tempo retreat from the bombast before the big chords open up just in time for you to pull out your lighter to sway with the rhythm, finally closing out the album with "Angel", another big loud, bombastic track built for the finale of the album that it closes, which actually surprised me. I figured it'd be as underwhelming as "Addicted", but in that vein, it actually succeeded my expectations by actually being tighter and more pronounced with the musical theme of the album, which as I've said all along, has been big, bombastic, choir-filled arena songs. So that said, I enjoy this album thoroughly and is another one of DT's many great albums to reside in his catalog of insanity and genius.

BUT WAIT, THERE'S MORE!

I also have the opportunity to go through the bonus disc of tracks as well (titled "Epiclouder", I believe? fitting) and frankly, this is just a collection of demos with enough material to constitute as a whole new album, but seeing as these probably weren't originally meant and recorded to be played together, I'm going to look at them as single track offerings and not group them together from an album specific viewpoint unless there's some dots I can connect between them all, so erase the pretensions of the previous album and look at this with an open mind, as it needs to with the acoustic ballad "Believe" that starts up this bonus disc.

"Happy Birthday" takes that acoustic sound and kicks up the tempo with Anneke Van Giersbergen once again providing some outstanding vocals as she has for this entire album. "Quietus" would've sounded right at home on "Ki", with the muffled drums, rhythmic plucking of the guitars and mysterious tone behind it all. "Heatwave" is a refreshing, nostalgic take on old time, rock 'n roll from the mad scientist himself, and "Love Tonight" is another bombastic track.

"The Mind WASP" is an unusual standout, an acoustic led track with a heavy foot, trudging through an exotic scale and key signature with hints of haunting synths and string samples setting the tone for a big showdown. Surely enough, halfway in, Townsend lets his pipes open up, and creates another huge spectacle, with screams and strings pounding their way to your ears.

"Woah NO!" is another interesting track. It opens with spastic guitar and sax solos ( a la John Zorn), before the traditional trudging guitar and drum combo punches its way to Devin screaming about something, probably about a rock that stuck in his shoe or something, before it turns into another big spectacle.

"Love And Marriage" stays on the softer side despite moving at a fairly brisk pace, but dynamically echoes "Ki" while also displaying some mad bits, including bell tones from backing vocals, more screams, and an impressive guitar solo. "Socialization" is the big epic off this bonus track, with hints of neo-classicism bathed in drums and noise a la "Deconstruction", while "Little Pig" finally ends in a very Pink Floydian acoustic waltz.

So, while the main album is worth getting, this bonus disc isn't worth sneezing at, either. While it's not exactly a must-have stand alone, thing, if you have the chance to get the bonus disc, get it, because it's got some own unique tidbits every Townsend fan should listen to.

 Ki (Devin Townsend Project) by TOWNSEND, DEVIN album cover Studio Album, 2009
3.84 | 269 ratings

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

Review by Wicket
Prog Reviewer

4 stars The first release of under the "Devin Townsend Project" is also the most unique of Townsend's entire catalog. There's a heavy side that's familiar, but yet it's also a different approach.

"A Monday", the intro, is a perfect example of it. It's just a little guitar ballad, almost sounding Buckethead-like texture-wise, and although it's not much to go by, "Coast", the track it segues into confirms this fact. This album is much more down-tempo, genuinely a much softer album. Much of the song has Devin whispering across gentle plucks of the guitar, a pretty standard drum beat and gentle bell tones here and there. It almost boarders on the shoegaze / post-rock realm. When you listen to it, it even sounds minimalist, as if the song sounds much longer than it actually is, even though it isn't devoid of material or action like minimalist music traditionally is. However, the increasing tension towards the end before it fades out into a neo-classical guitar spot shows a hidden, darker side to this album.

The first of which is evident in "Disruptr". Now we get a much darker, grungier tone, the beat continues to hang back, as Devin's whispers turn raspier, much more serious, more violent. And once again, as the tension builds in the song, the chords get heavier, the screams more prominent, and halfway into the song, the distorted chords make their presence known as Devin is full on screaming, but only for a short while, as the arpeggiated plucks return underneath more of Devin's croons before settling back in the rhythmic dissonant plucking that has accompanied the entire song.

"Gato" essentially continues where "Disruptr' leaves off, except the former is actually a bit catchy, with hints of Nirvana as Che Dorval sings through the chorus, but then Devin turns it up to 11 and essentially repeats the process except with distorted chords at a maximum and screams up and beyond. It's an unusually haunting and yet still captivating track, while easily being one of the heaviest on the album.

"Terminal" then brings it back down to Earth, soft, down-tempo music, almost rivaling the ambiance and simplicity of "Ghost", with the rare beautiful chorus bisecting soundscapes of ambiance, echoing guitars and electronics. Then "Heaven Send" once again ushers in echos of grunge, particularly Soundgarden this time around (with whiffs of Pearl Jam soloing here and there). And with that grungy sound returns the sinister-isms, the growls and whispers underneath consistent but crunching guitar plucks. But it's also much more elaborate than that, with unusual Buckethead-styled guitar solos, and the occasional tension almost building to the top (a la "Deconstruction"). Although just when you expect it to end, Devin (or rather, one of the other musicians) decides to just redo the end, and the whole take and retake is included in the song. Unusual decision from the production standpoint, but I find it interesting, and it gives you another opportunity in the same playthrough to appreciate that punishing ending.

"Ain't Never Gonna Win" is a good break from that punishing track, with a bluesy groove essentially influenced by the previous track and essentially isolated into a jam band track. "Winter" then continues that jam band beat, and then tunes it down a bit to incorporate more of Townsend' subtle singing from "Coast" and "Terminal". Continuing onward, "Trainfire" still retains a bit of that grungy plucking, but instead incorporates a bit of down home, country-fresh cooking, complete with bits of ragtime-y piano and Elvis-esque vocals, and mixes them into his own twisted, heavy metal concoction.

Once again, without making each song sound the same, Devin has created an identity for this album that tweaks the recipe here and there. In general, down-tempo music is the name of the game. The occasional grunge-tastic tracks like "Disruptr", "Gato" and "Heaven Send" keep some meat on the bones, but the rest of the album falls to ambiance and beautiful melodies on songs like "Coast", "Terminal", "Lady Helen", "Ki". It really then feels like a mix between "Deconstruction" and "Ghost", from an album that preceded both of them. Rather unusual, but then again, we ARE talking about Devin Townsend, here. Unusual or not, the sound he concocts with this amazing band on this album is one not to be missed, showcasing both heavier and lighter sides of music that should appeal to all fandoms of prog.

Data cached

Experimental/Post Metal bands/artists list

Bands/Artists Country
11 AS IN ADVERSARIES France
19 A.D.D. United States
21 EYES OF RUBY Netherlands
THE 3RD AND THE MORTAL Norway
413 United States
5IVE United States
6:33 France
A((WAKE)) United States
AABSINTHE France
ABANDON Sweden
ABYSSE France
ACROSS TUNDRAS United States
ACYL France
ADMIRAL BROWNING United States
ADRIFT Spain
AFTER MY OWN United States
AGALLOCH United States
AGES GONE Germany
AKPHAEZYA France
AKROMA France
ALASKAN Canada
ALCEST France
ALTAR OF PLAGUES Ireland
AMARA United States
AMBEON Netherlands
AMENRA Belgium
AMESOEURS France
AMIA VENERA LANDSCAPE Italy
ANATHEMA United Kingdom
ANCESTORS United States
AND HARMONY DIES Italy
ANGEL EYES United States
ANTIGUA Y BARBUDA Spain
ANTIMATTER Multi-National
ANUBI Lithuania
APOCALIPSIS Mexico
APOCRYPHAL VOICE Finland
APOKATASTASIA Switzerland
APSE United States
ARCADE MESSIAH United Kingdom
THE ARKITECHT Mexico
ARKTIKA Germany
AS LIGHT DIES Spain
ASIDEFROMADAY France
ASPIRATION Norway
ASTROHENGE United Kingdom
ASTRONAUT DOWN United States
AT THE SOUNDAWN Italy
THE ATLAS MOTH United States
THE ATOMIC BOMB AUDITION United States
ATROX Norway
AUSSITÔT MORT France
THE AXIS OF PERDITION United Kingdom
AZIOLA CRY United States
BACK WHEN United States
BAK Australia
BARONESS United States
BAT CASTLE United States
BATTLE OF MICE United States
BATTLEFIELDS United States
BAUDA Chile
BEAK United States
BEECHER United Kingdom
BEFORE THE EYEWALL United States
BEHIND THE SUN Israel
BEING United States
ADRIAN BENAVIDES United States
BIRUSHANAH Japan
BISON B.C. Canada
BLACK MATH HORSEMAN United States
BLACK SEA Brazil
BLACK SHEEP WALL United States
BLACKWAVES Germany
BLINDEAD Poland
BLOOD & TIME United States
BLUT AUS NORD France
BOBEL Costa Rica
BOSSK United Kingdom
BOTANIST United States
BRIDGES TO DREAMS Canada
BUNKUR Netherlands
BURIED INSIDE Canada
BURN DOWN ROME United Kingdom
BUTTERFLY TRAJECTORY Poland
CAINA United Kingdom
CALDERA France
CALLISTO Finland
THE CANCER CONSPIRACY United States
CANDIRIA United States
CAPRICORNS United Kingdom
CAPTURE THE SUN United States
CARNIVAL IN COAL France
CARONTTE Spain
CATACOMBE Portugal
CAVE IN United States
CELEBRITY SEX SCANDAL United States
CELESTINE Iceland
CHASE THE SUNSET United Kingdom
THE CHRONICLES OF ISRAFEL Canada
CHRYST Austria
THE CIRCLE ENDS HERE Italy
CIRUELO CILINDRICO Spain
CLERIC United States
CLOUDKICKER United States
COALESCE United States
COLD BODY RADIATION Netherlands
A COLD DEAD BODY Italy
COLDWORLD Germany
COME SLEEP Sweden
COMITY France
CONIFER United States
CONSECRATION Serbia
CORMORANT United States
COSMONAUTS DAY Russia
COUNTERVELA Ireland
CRIB45 Finland
CULT OF LUNA Sweden
D.U.N.E. Italy
DAKRYA Greece
DAMASCUS United States
DARK CASTLE United States
DARK SUNS Germany
DARKESTRAH Germany
DARKSPACE Switzerland
DAUGHTERS OF FISSION United States
DAY WITHOUT DAWN United States
DE OMEGA United States
DEADBIRD United States
DEADSOUL TRIBE United States
DEAFHEAVEN United States
THE DEATH OF HER MONEY United Kingdom
DECORTICA New Zealand
DEEP IN THOUGHT Germany
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
DŘDSVERK Norway
DORNENREICH Austria
DOTZAUER Italy
DR. SLAGGLEBERRY United Kingdom
DRAWN Norway
DREARINESS Italy
DYING SUN United States
EARTH United States
EAST OF THE WALL United States
EBONY LAKE United Kingdom
ECHOES United Kingdom
ECHOES OF YUL Poland
ECHOSILENCE Estonia
EGOIST Poland
EHNAHRE United States
EIGHT BELLS United States
EINNA France
ELLIPSIS France
EMPIRES United States
EMPTY YARD EXPERIMENT United Arab Emirates
ENDER New Zealand
ENDNAME Russia
EPHEL DUATH Italy
EPISTASIS United States
ETERNAL DEFORMITY Poland
ETHERSENS France
EVIL INSIDE Spain
EX CURIA Australia
EXOTIC ANIMAL PETTING ZOO United States
EXTINCTION ALGORITHM Romania
FALL OF EFRAFA United Kingdom
FALLOCH United Kingdom
FALLS OF RAUROS United States
FEN United Kingdom
FLEURETY Norway
FLOOD THE DESERT United States
FOLLOW THE WHITE RABBIT Russia
A FOREST OF STARS United Kingdom
FORMLOFF Norway
FOUNTAINHEAD Germany
FROM OCEANS TO AUTUMN United States
FUTURIAN Canada
THE GABRIEL CONSTRUCT United States
GANON United States
GARDEN OF SHADOWS United States
GARY SUICIDAL KIDS COMMANDO France
THE GATHERING Netherlands
GENERATION OF VIPERS United States
GENGHIS TRON United States
GIANT SQUID United States
GIGANTIC BRAIN United States
GIRE Hungary
GLETSCHER Switzerland
GNAW THEIR TONGUES Netherlands
GODSEND Norway
GONIN-ISH Japan
GORDIAN KNOT United States
GOSPEL United States
THE GRASSHOPPER LIES HEAVY United States
GRAVITON United States
GRAYCEON United States
THE GREAT OLD ONES France
GREEN CARNATION Norway
HAIKU FUNERAL Multi-National
HAIL SPIRIT NOIR Greece
HALCYON Australia
HAMMERS OF MISFORTUNE United States
HAND United Kingdom
HARVEY MILK United States
HEIRS Australia
HELLAS MOUNDS United States
HERETOIR Germany
HIPOSPADIA Spain
HUMANFLY United Kingdom
HYDRA Mexico
HYPNO5E France
IDENTIFIED United States
IDIOT SAINT CRAZY France
THE ILLNESS United States
IN THE WOODS... Norway
IN.OVO Canada
INCOMING CEREBRAL OVERDRIVE Italy
INDUKTI Poland
INTER ARMA United States
INTRONAUT United States
IO United Kingdom
ION United States
IREPRESS United States
IRONWOOD Australia
IRREVERSIBLE United States
ISIS United States
ISTHMUS United States
IZAH Netherlands
JAKEL Canada
JANVS Italy
JESU United Kingdom
JEWY SABATAY Serbia
OLIVER KAAH Finland
KAILASH Italy
KALKI AVATARA Italy
KARABOUDJAN Sweden
KEELHAUL United States
KEKAL Indonesia
KHANATE United States
KHEMEĎA France
KHOMA Sweden
KHUDA United Kingdom
KICK THE BUTTERFLY Australia
KINGDOM Belgium
KLABAUTAMANN Germany
KOLLWITZ Norway
KONG Netherlands
KONGH Sweden
KOSMOGRAD Canada
KRAKOW Norway
KRUGER Switzerland
KYLESA United States
LANDFORGE United Kingdom
LANTLOS Germany
LATITUDES United Kingdom
LEFT BRAIN United States
LENTO Italy
LESBIAN United States
LIGHT BEARER United Kingdom
LITHIUM DAWN United States
LÖBO Portugal
LOOK TO WINDWARD New Zealand
LORUS United States
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 MADE SENSE United Kingdom
NOCTIS Australia
NOEKK Germany
NORTH United States
NOVEMBRE Italy
NUCLEUS TORN Switzerland
OBSIDIAN KINGDOM Spain
THE OCEAN DOESN'T WANT ME South Africa
THE OCEAN Germany
OCOAI United States
OHGOD! South Africa
THE OLD DEAD TREE France
OLD MAN GLOOM United States
OMB Israel
THE OMEGA EXPERIMENT United States
OMEGA MASSIF Germany
ORANSSI PAZUZU Finland
ORDO DRACONIS Netherlands
ŘRKENKJŘTT Norway
ORPHANED LAND Israel
ORTHODOX Spain
OSI United States
OSTROVA Spain
THE OTHER SIDE OF THE SKY United States
OUTOPSYA Italy
OVERMARS France
PAN.THY.MONIUM Sweden
PANOPTICON United States
THE PAX CECILIA United States
PECCATUM Norway
PELICAN United States
PET SLIMMERS OF THE YEAR United Kingdom
PIKE Sweden
PINKLY SMOOTH United States
THE POSTMAN SYNDROME United States
PRISMA Switzerland
PROGHMA-C Poland
THE PROPHECY United Kingdom
PRYAPISME France
PSYCHOFAGIST Italy
PSYKUP France
PYRAMIDS United States
QUALEACEANS United Kingdom
QUARANTADUE Italy
QUBE Poland
QUESTIONER United States
RADAR Finland
RADIATION 4 United States
RAIN DELAY Serbia
RAINROOM Finland
RAXINASKY Belgium
RED PAPER DRAGON United Kingdom
REFRACTION Ireland
THE REPTILIANS United States
RETURNING WE HEAR THE LARKS United Kingdom
ROSETTA United States
ROUTE NINE Sweden
RWAKE United States
RYOKUCHI Japan
SAL Y MILETO Ecuador
SALVICTION Poland
SANNHET United States
SCHIZOID LLOYD Netherlands
SCORCHED SHORE United States
SECONDSKIN United Kingdom
SENMUTH Russia
SENSUAL NOISE Belgium
SEPIA DREAMER Sweden
SEVEN United States
SEVEN NAUTICAL MILES Sweden
SEVENTH EVIDENCE / KA.MMEN Ukraine
SHELS United States
SHELTER RED United States
SHELVING Switzerland
SHEPHERDS OF CASSINI New Zealand
SHRINEBUILDER United States
SIGH Japan
SIKA REDEM United Kingdom
SISARE Finland
SKAGOS Canada
SKEWED SKIES Germany
SLEEP MAPS United States
SLEEPING IN GETHSEMANE United States
SMALLMAN Bulgaria
SMOHALLA France
SNOWBLOOD United Kingdom
SO IS THE TONGUE United States
SOEN Multi-National
SOLSTAFIR Iceland
SONS OF ALPHA CENTAURI United Kingdom
SPRING & YOUTH Serbia
STANDING OVATION Finland
STATS United States
STEAK NUMBER EIGHT Belgium
A STORM OF LIGHT United States
SUBROSA United States
SUBTERRANEAN MASQUERADE Multi-National
SUFFOCATE FOR FUCK SAKE Sweden
SUMAC Multi-National
SUNPOCRISY Italy
SUPERCONTINENT United States
THE SUSPENDED CONGRESS Ireland
SWARM OF THE LOTUS United States
A SWARM OF THE SUN Sweden
SWITCH OPENS Sweden
TACOMA NARROWS BRIDGE DISASTER United Kingdom
TARANTULA HAWK United States
TELEPATHY United Kingdom
TEMPEL United States
TENOCHTITLAN Russia
TEPHRA Germany
TERRA TENEBROSA Sweden
TESA Latvia
TETRAFUSION United States
THANATOSCHIZO Portugal
THENCE Finland
THORDENDAL'S SPECIAL DEFECTS Sweden
THY CATAFALQUE Hungary
TIDES United States
TIDES FROM NEBULA Poland
TIME ZERO United States
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
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

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — the ultimate jazz music virtual community | MetalMusicArchives.com — the ultimate metal music virtual community


Server processing time: 0.47 seconds