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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)
Louis (rdtprog)

Experimental/Post Metal Top Albums


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

4.22 | 1364 ratings
LATERALUS
Tool
4.22 | 652 ratings
PART THE SECOND
Maudlin Of The Well
4.34 | 122 ratings
IMAGINARY SONICSCAPE
Sigh
4.27 | 170 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.19 | 603 ratings
TERRIA
Townsend, Devin
4.16 | 647 ratings
JUDGEMENT
Anathema
4.19 | 302 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.16 | 538 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.54 | 37 ratings
FEA JUR
Lye By Mistake
4.17 | 276 ratings
BATH
Maudlin Of The Well
4.16 | 255 ratings
IN A FLESH AQUARIUM
Unexpect
4.13 | 347 ratings
THE MANTLE
Agalloch
4.19 | 137 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult of Luna
4.13 | 314 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.08 | 815 ratings
ÆNIMA
Tool
4.43 | 40 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.11 | 307 ratings
FABLES OF THE SLEEPLESS EMPIRE
Unexpect
4.11 | 242 ratings
PANOPTICON
Isis
4.09 | 305 ratings
MABOOL - THE STORY OF THE THREE SONS OF SEVEN
Orphaned Land
4.07 | 563 ratings
ALTERNATIVE 4
Anathema
4.05 | 848 ratings
WE'RE HERE BECAUSE WE'RE HERE
Anathema
4.07 | 323 ratings
THE DEVIN TOWNSEND BAND: SYNCHESTRA
Townsend, Devin
4.13 | 116 ratings
SOL NIGER WITHIN
Thordendal's Special Defects, Fredrik
4.13 | 108 ratings
THE PAINTER'S PALETTE
Ephel Duath
4.16 | 87 ratings
SUSPENDED ANIMATION DREAMS
Subterranean Masquerade
4.06 | 243 ratings
S.U.S.A.R.
Indukti
4.02 | 850 ratings
WEATHER SYSTEMS
Anathema
4.10 | 120 ratings
OMNIO
In The Woods...
4.06 | 185 ratings
OCEANIC
Isis
4.16 | 70 ratings
SOULS AT ZERO
Neurosis
4.20 | 58 ratings
WRITTEN IN WATERS
Ved Buens Ende
4.54 | 22 ratings
MYSTER MÖBIUS
Myster Möbius
4.02 | 276 ratings
ÉCAILLES DE LUNE
Alcest
4.39 | 28 ratings
TűNő IDő TÁRLAT
Thy Catafalque
4.37 | 29 ratings
THE LOCUST YEARS
Hammers of Misfortune
4.02 | 193 ratings
WAVERING RADIANT
Isis
3.98 | 287 ratings
OCEAN MACHINE - BIOMECH
Townsend, Devin
4.16 | 51 ratings
THE MALEDICTION FIELDS
Fen
4.73 | 14 ratings
ELIL
Fall of Efrafa
3.97 | 312 ratings
DEVIN TOWNSEND PROJECT: EPICLOUD
Townsend, Devin
4.26 | 33 ratings
THE GALILEAN SATELLITES
Rosetta
4.07 | 77 ratings
PREHISTORICISMS
Intronaut
3.96 | 262 ratings
OFFICE OF STRATEGIC INFLUENCE
OSI
4.20 | 37 ratings
A SHADOWPLAY FOR YESTERDAYS
Forest Of Stars, A
3.94 | 386 ratings
DEVIN TOWNSEND PROJECT: DECONSTRUCTION
Townsend, Devin
3.99 | 138 ratings
EPOCH
Fen
3.99 | 125 ratings
IF_THEN_ELSE
Gathering, The
4.32 | 22 ratings
ABSOLUTE ZERO
Tetrafusion
3.93 | 221 ratings
THE DEVIN TOWNSEND BAND: ACCELERATED EVOLUTION
Townsend, Devin
3.90 | 517 ratings
A NATURAL DISASTER
Anathema
3.95 | 138 ratings
NIGHTTIME BIRDS
Gathering, The
3.93 | 196 ratings
MARROW OF THE SPIRIT
Agalloch
4.15 | 35 ratings
UNDERSTANDING CONSEQUENCES
Day Without Dawn
4.00 | 79 ratings
A SUN THAT NEVER SETS
Neurosis
4.46 | 16 ratings
TERRAFORMING
Postman Syndrome, The
3.99 | 85 ratings
LEAVING EDEN
Antimatter
4.22 | 27 ratings
TOUNDRA III
Toundra
3.96 | 106 ratings
VERTIKAL
Cult of Luna
4.10 | 40 ratings
PAINTING ON GLASS
3rd And The Mortal, The
4.79 | 10 ratings
KENTUCKY
Panopticon
4.16 | 32 ratings
MANTIIS
Obsidian Kingdom
4.70 | 11 ratings
DEPARTURE SONGS
We Lost the Sea
4.11 | 38 ratings
SEA OF THE DYING DHOW
*Shels
4.02 | 58 ratings
TEETHED GLORY AND INJURY
Altar of Plagues
3.98 | 79 ratings
PRECAMBRIAN
Ocean, The
3.92 | 150 ratings
GORDIAN KNOT
Gordian Knot
4.41 | 16 ratings
MELANCHOLIE²
ColdWorld
3.94 | 115 ratings
PELAGIAL
Ocean, The
3.89 | 272 ratings
THE NEVER ENDING WAY OF ORWARRIOR
Orphaned Land
4.04 | 47 ratings
RENGETEG
Thy Catafalque
4.06 | 41 ratings
BLESSED ARE THE BONDS
Pax Cecilia, The
4.79 | 9 ratings
BAR-DO TRAVEL
Proghma-C
4.01 | 52 ratings
HEART OF THE AGES
In The Woods...
4.78 | 9 ratings
ACID MIST TOMORROW
Hypno5e
4.00 | 54 ratings
COGNITIVE
Soen
3.99 | 58 ratings
THE BEES MADE HONEY IN THE LION'S SKULL
Earth
4.15 | 27 ratings
CARHEART
Virus
3.94 | 82 ratings
THE EYE OF EVERY STORM
Neurosis
4.40 | 15 ratings
DEAD AS DREAMS
Weakling
3.91 | 129 ratings
SOUVENIRS D'UN AUTRE MONDE
Alcest
3.95 | 77 ratings
ANTHROPOCENTRIC
Ocean, The
4.27 | 19 ratings
CENOTES
Giant Squid
4.08 | 34 ratings
SELENELION
Vaura
4.08 | 33 ratings
OPPORTUNISTIC THIEVES OF SPRING
Forest Of Stars, A
4.01 | 46 ratings
PLAINS OF THE PURPLE BUFFALO
*Shels
3.84 | 830 ratings
10,000 DAYS
Tool
3.88 | 159 ratings
HOW TO MEASURE A PLANET ?
Gathering, The
4.26 | 19 ratings
NOIR
Callisto
4.17 | 24 ratings
KÖLD
Solstafir
3.85 | 308 ratings
DEVIN TOWNSEND PROJECT: ADDICTED
Townsend, Devin
3.87 | 170 ratings
MANDYLION
Gathering, The
4.19 | 21 ratings
THE RITUAL FIRES OF ABANDONMENT
Minsk
3.93 | 75 ratings
OI MAGOI
Hail Spirit Noir
4.19 | 21 ratings
TOUNDRA II
Toundra
4.68 | 9 ratings
MEMORIA VETUSTA III: SATURNIAN POETRY
Blut Aus Nord
3.88 | 136 ratings
THE ACOUSTIC VERSES
Green Carnation
4.24 | 18 ratings
THE HABIT OF FIRE
Kekal
3.84 | 298 ratings
DEVIN TOWNSEND PROJECT: KI
Townsend, Devin
3.92 | 78 ratings
EXISTENCE
Dark Suns
3.83 | 455 ratings
A FINE DAY TO EXIT
Anathema

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

IRLYA - IL Y A -
Mutyumu
IF_THEN_ELSE
Gathering, The
TWILIGHT RITUAL
Deadbird
MONOLITH
Twin Zero

Latest Experimental/Post Metal Music Reviews


 Office Of Strategic Influence by OSI album cover Studio Album, 2003
3.96 | 262 ratings

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Office Of Strategic Influence
OSI Experimental/Post Metal

Review by MaxnEmmy

4 stars This group consists of Fates Warning members and special guests that put out a really good debut recording which only gets better with repeated listening sessions. I like the satirical approach they take to government and current state of affairs, as they comment on the media and the masses. OSI has released some very strong albums over the years but I find this one to be their strongest and best. They strive to make music that makes you think, which like Rush is the hallmark of great progressive rock. All the OSI catalogue is worth checking out but I would definitely start with this one.
 Heliocentric by OCEAN, THE album cover Studio Album, 2010
3.65 | 46 ratings

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Heliocentric
The Ocean Experimental/Post Metal

Review by javajeff

4 stars I just started listening to The Ocean, and I am thoroughly enjoying the catalog of albums. Heliocentric is the least heavy album from the group, but it follows a more traditional progressive metal path rather than the extreme nature of the other releases. I absolutely love their top albums that mix extreme metal, metalcore, and progressive rock. However, Heliocentric has superb songwriting wrapped in a nice, neat, metaphysical box. It is an underrated release, and one that should be revisited and reviewed on it's own merit. Like other albums, it has excellent musicianship and stellar mastering that makes the bass and drums pop. Anyone not familiar with them would feel right at home if they are fans of Between The Buried and Me, another band I love. This is great stuff, and highly recommended.
 Unsung Prophets & Dead Messiahs by ORPHANED LAND album cover Studio Album, 2018
3.86 | 33 ratings

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Unsung Prophets & Dead Messiahs
Orphaned Land Experimental/Post Metal

Review by ale73

4 stars Ok for sure "Mabool" was their most inspired album and it is impossible to reach the same peak of inspiration. Ok the loss of Yossi Sassi is not an Easy one. But the new Orphaned Land opus is a compendium of everything good in life: you cancellare find prof,metal, clean voice, some growl, female voice, ethnic music, areal orchestra, Steve Hackett, Hansi Kürsch, Tomas Lindberg, belly dancers...and in the limited edition even Steven Wilson and a cover of Jeremy! Furthermore, Orphaned Land deserve to be respected even as men other than as musicians, for their efforts in spreading their message of peace everywhere. p

This album is more intricate than "All is one" and a little bit more metal and prog oriented, but less heavy than their old records. What is astonishing is that they have reached the perfect integration of their two main elements: rock (in different shapes) and orientale music. Every note is in Italy place, and the orchestral parts are played by a real orchestra. Being a long and articulate album you can undestand why it took vive years to realize it. The lyrics are well really important and the whole concept is explained by Kobi Farhi in the first page of the wonderful booklet: it is a reflection on the history of humanity, revolutions and great men who fought for freedom. p

It is difficult to talk about single songs because all the record is a continuum that flows without week moments, merging perfectly all the different elements,withan extraordinary elegance. The only tracks where the influence of the guest is really marked are "Like Orpheus" with its power metal flavour and "Only the dead have seen the end of the war", the most death metal oriented one, maybe reminiscent of their beginning. p

 Ex Eye by EX EYE album cover Studio Album, 2017
3.98 | 13 ratings

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Ex Eye
Ex Eye Experimental/Post Metal

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

4 stars Post-rock? Post-metal? Post-jazz? or Post-psychedelia? Well, all of the above actually. EX EYE is a new kid on the block and making a whole lot of noise without resorting to cliche been-there done-that retro worship. This quartet of seasoned veterans formed in New York City consists of alto and bass saxophonist Colin Stetson ( Eternal Buzz Brass Band, The Sway Machinery, Transmission Trio ), guitarist Toby Summerfield ( Algernon, Crush Kill Destroy, Never Enough Hope ), synthesizer wizard Shahzad Ismaily ( 2 Foot Yard, Barbez, Burnt Sugar, Causing A Tiger, Ceramic Dog, Doveman, Kotkot, Pure Horsehair and Secret Chiefs 3 ) and drummer Greg Fox ( Guardian Alien, Liturgy, Teeth Mountain, Zs). EX EYE is one of those avant-garde type groups that is similar to others like Zu and Aluk Todolo and succeeds in creating a sort of frenetic drone type music, that meaning a very hypnotic anchoring system with a hornet's nest of buzzing instruments that swirl around its center with extra attention on hyperactive saxophone attacks, black metal riffs that dance in the dark with oscillating swirling synthesizer sounds.

While the post-metal tag genre tag has traditionally been somewhat synonymous with sludge metal such as with bands like Neurosis and Isis pretty much fitting into both worlds, the two subgenera are not exactly identical at all. Sludge metal is derived primarily from doom metal with aggressive emphasis on guitar feedback and groovy riffs and angry vocals often bordering on hardcore punk whereas post-metal owes its atmospheric hypnotic riffs and grooves more to the world of post-rock which focuses on long drawn out and repetitive passages that slowly shift the dynamics of the atmosphere and tempos. EX EYE is more of the latter but does exhibit both styles as they are conservative with root notes and profligate with the subtle and abrupt changes around them. The end result is a very groovy and hypnotic drift through frenzied sax and guitar solos and complex flurries of synthesized bliss that deftly blend the simplistic with an array of complex counterpoints. The band is also unique as far as i know in that they substitute the bass guitar with a bass saxophone. Their debut eponymous album consists of four mostly lengthy tracks and there is a bonus twelve minute track on digital forms.

"Xenolith; The Anvil" (3:55) is the shortest track that carries a repetitive almost funk type groove that extends pretty much throughout. Graced with a heavy dramatic technical drum workout to dazzle us upon first listen, the track quickly chills out with a lackadaisical percussive drive as the groove unfolds slowly followed by the guitar and sax counterpoints that ratchet up the tension. "Opposition/Perihelion; The Coil" (12:29) takes on a new persona with a syncopated drum and bass sax line on hyperdrive and stuck in a two note groove that eventually takes on a slight musical scale and is the track that sounds most like Aluk Todolo however just when you think the groove is set on cruise control it changes things up with a partial melodic change. After the frenetic intro, the guitar becomes sludgy and slows down while the saxophone parts become fuel injected as if they are channeling John Zorn at his most caffeinated.

"Anaitis Hymnal; The Arkose Disc" (11:56) makes me think a Klaus Schulze CD has been slipped into my player as a dark and brooding electronic storms brews with a dreadful hum and a swarm of insectoid aliens flying ahead. The percussion joins in but as an intermittent tom strike that feels as if a sole giant is thundering the Earth as he walks upon its fragile crust. As the synth takes me to Neptune, the sax gains power as an oscillating beacon of terror and then, the final straw breaks the camel's back as the relentless blastbeat drumming adds the final fear inducing ingredient as the sax goes even crazier and the instruments all start to fade in and out of tune with each other until they reach a terrifying frenetic climax. Yes, indeed. This is the soundtrack of nightmares. "Form Constant; The Grid" (8:08) delivers an oscillating sax attack that is accompanied by a high pitched atmospheric backdrop before it all goes nuts with frenetic nonstop avant-garde jazz sax noodling, guitar bombast and a minimalist synthesizer sequence that reminds me of Philip Glass' "Glassworks" and "Koyaanisqatsi" era.

Tten Crows : The Corruptor" (bonus track digital only) (12:01) is surprisingly quite different from the rest of the pack and the most bizarre. It consists of an intermittent guitar riffs, somewhat lazy following percussive drive and a frenetic synth and sax dueling it out. This one actually has more of a drawn out melody although every note is amplified by sax shredding and atmospheric weirdness. The guitar is also much more aggressive as it enters pure metal territory. In the middle it changes into some sort of Latin percussion with an acid jazz type of keyboard run. The guitar fuzz is thicker on this one and there is more of guitar dominated soloing that steals the show from the attention hog saxophone parts. This one is pretty cool and just as good as the other four tracks. Unfortunately i have the CD so it's not on there.

EX EYE crank out a fairly sophisticated mix of minimalistic grooves wrapped up in jazzy saxophone virtuosity and psychedelic atmospheric ambience. The guitar, while present is usually reserved for power chords with the odd dominant riff entering the scene but is always in the background. All the musicians rely on intricate interplay and although certain segments showcase a retrospective instrument, the overall fabric of the music is very much dependent on how it's all woven together. The repetitive groovy feel is extremely hypnotic while the overly busy counterpoints whizz around like a swarm of wasps that just had their nest knocked to the ground. While this isn't as avant-garde and weird as it's made out to be since it's in the same musical experimental tree as bands like Aluk Todolo and Zu, EX EYE does however stand out as a fairly unique sounding outfit. Whether this pans out to be a full time project or not remains to be seen, but as for now EX EYE has conjured up a satisfying slice of hypnotic varied post- metal with all kinds of frenetic accoutrements that take the listener into dark musical soundscapes.

 Lykaia by SOEN album cover Studio Album, 2017
3.69 | 115 ratings

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Lykaia
Soen Experimental/Post Metal

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

3 stars A multi-national band based in Sweden, this is SOEN's third album of LEPROUS/KARNIVOOL/VOTUM-like progressive metal music. Excellent sound production makes this album a joy to listen to--as do the variations in styles, yet there is something missing to bring this up to a level with the aforementioned masters of atmospheric prog metal.

01. "Sectarian" (5:55) vocals and heavy metal music sound very much like countrymates LEPROUS. A little too straightforward and monotonous. (7.5/10)

02. "Orison" (7:07) the sound here is very much like TOOL and then KARNIVOOL with the chorus. Nice lead guitar work--both the djenty riffing and the delicate picking. (8.5/10)

03. "Lucidity" (6:36) a kind of PINK FLOYD/AUTUMN CHORUS spacey folk mix, this is definitely a highlight for me. (9/10)

04. "Opal" (6:46) opens JUST LIKE the first song! The little multi-guitar riffs beneath the singing are rather annoying. The music and musicianship in the chorus sections are so simple. Despite the interesting guitar soloing in the fifth minute and the CY CURNIN-like singing over empty space in the sixth, this is nothing to write home about. (7.5/10)

05. "Jinn" (5:41) a nice change in the mix with the delicate sung voice more forward from the start. The music builds beneath and that works well. Nice chorus section, too. Lots of nice, interesting changes over the course of this song, including a few Middle Eastern flavors. A top three song from me. (9/10)

06. "Sister" (5:30) interesting for the heavy guitar parts contrasted with the use of a breathy, delicate singing voice-- at least until the "Sister" choruses. It works. (8.5/10)

07. "Stray" (5:38) nice sounds, structures, speed, excellent guitar work and great vocal. i love the delicate interlude in the second half of the fourth minute. Another top three for me. (9/10)

08. "Paragon" (6:25) slow, spacious, yet heavy, almost bluesy, with a soft, delicate voice used again for delivery of the lyrics. Organ solo before distorted guitar chords usher in the chorus and screaming GILMOUR-esque lead guitar solo. Perhaps a little too Floydian (until the end). (8/10)

09. "Gods Acre" (8:10) another slower paced, more spacious song that sounds very much like Australia's top notch TOOL-inspired band, KARNIVOOL, only not as nuanced or sophisticated. The song plays out more like a very straightforward, four-chord stoner-rock song. Their usual break-down, soft section at the two-thirds mark is getting a little too predictable and, thus, old. (8.5/10)

Though singer Joel Ekel'f has a top notch voice--with excellent clarity, diversity, and control--his deliveries of the lyrics are a little too straightforward. I'd like to see more quirks and ticks to help me take notice, otherwise he's just a white bread version of Ian Kenny or Einar Solberg. As a matter of fact, it feels as if all of these fine musicians are playing it a little too conservatively most of the time. I hope that in the future they will break out and add some fire and idiosyncracy to their recorded songs.

Three stars; a solid if straightforward collection of atmospheric metal.

 The January Tree  by DEADSOUL TRIBE album cover Studio Album, 2004
3.68 | 93 ratings

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The January Tree
DeadSoul Tribe Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "The January Tree" is the 3rd full-length studio album by Austrian/US progressive metal act Deadsoul Tribe. The album was released through InsideOut Music in August 2004. While the band´s preceding album release "A Murder of Crows (2003)" was recorded by a full lineup, band leader Devon Graves opted to record "The January Tree" almost entirely by himself. He plays and sings everything except for the drums on the album, which are recorded by Adel Moustafa. So the two other members of the band are reduced to touring members. A concept Graves would also use on the next two Deadsoul Tribe albums.

The music on the album continues the predominantly vers/chorus structured progressive metal style of it´s two predecessors and doesn´t add much new to the band´s discography in the way of innovation. It´s an album were it very much feels like Deadsoul Tribe had found a music style they were comfortable with and therefore didn´t feel the need to develop upon. As a result "The January Tree" is a solid release but it´s also a very "safe" release.

Musically we´re treated to heavy distorted riffs, some acoustic sections, lead harmony melodies, rhythmic drumming, and Devon Graves distinct sounding vocals on top. The material is relatively well written, but few tracks stand out. I´d mention "The Coldest Days of Winter" and "Wings of Faith" as some of the highlights, but overall it´s more a solid release than an outstanding one.

The slightly flat impression I get when listening to "The January Tree" also has a lot to do with the way the album is produced. Considering how often Devon Graves (who acts as producer on this album) has spoken of his love for organic sounding artists like Black Sabbath, Jimi Hendrix, The Doors, and Jethro Tull, it´s odd how artificial this production sounds. The drums are clicky and flat sounding, and the rest of the instruments and the vocals has a digital tone to them, which isn´t very suiting.

So upon conclusion "The January Tree" is an album which leaves me a bit biased, because objectively it´s a solid release featuring a professional sound production, decent songwriting, and strong musicianship, but it´s like the sum of the parts, just don´t add up to an album that´s extraordinary. Less will do though, and "The January Tree" is overall a decent release by Deadsoul Tribe and a 3 - 3.5 star (65%) rating is still warranted.

 Devin Townsend Project: Transcendence by TOWNSEND, DEVIN album cover Studio Album, 2016
3.57 | 84 ratings

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Devin Townsend Project: Transcendence
Devin Townsend Experimental/Post Metal

Review by Prog Leviathan
Prog Reviewer

3 stars Townsend's 10-year streak of winning output continues with Transcendence, an album that, while somewhat lacking the artist's usual stamp of creativity and ambition, is never the less a worthy purchase for fans. This release sees Devin continuing in the niche that he's sort of created for himself--ultra modern, highly produced, dynamic, electric, and powerfully emotive prog-metal.

Taken by itself, I don't have any serious criticism for this album. Townsend is a consummate musician and songwriter. The layers of nuance are thick on each song of Transcendence, each song being a sort of standalone mini-epic. You'll be roused, smashed to pieces, left to drift back to consciousness, only lifted up through prog-metal catharsis that is uniquely Townsend and uniquely excellent. "Failure" especially stands out as a highlight throughout Devin's library; it's a showcase of his massive guitar sound, powerfully minimalist and effective lyrics, and sense of pacing.

As a serious fan of Townsend's music, I do have a few quibbles though. At this point Devin feels like he's coasting. These mini-epics that I describe don't flow well, and the album itself doesn't encapsulate a sonic narrative the way his previous works have. That, combined with predictability of the work, make Transcendence a 3-star release. It's hard to argue that Townsend is anything other than a top performer in the genre, but I think most will agree that this album represents him playing it safe.

In the end, I'm very thankful for artists like Townsend, who have given us a staggering large amount of excellent music. Few reading this will find anything in Transcendence that turns them off to the experience, and maybe some will find it as a gateway into Devin's excellent prog-metal output. The rest of us will eagerly await what crazy thing he comes up with next ... although maybe after a brief hiatus to recharge his inspiration.

Songwriting: 3 - Instrumental Performances: 4 - Lyrics/Vocals: 3 - Style/Emotion/Replay: 2

 The Optimist by ANATHEMA album cover Studio Album, 2017
3.58 | 111 ratings

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The Optimist
Anathema Experimental/Post Metal

Review by Mellotron Storm
Prog Reviewer

4 stars I've been a pretty huge fan of this band over the years so I was really pumped when I heard they were doing an album that was to close the chapter on "A Fine Day To Exit" from 2001. This isn't a new idea but one that is intriguing to say the least. But why bother? Well back in 2001 the critics were all over this band for the apparent positive spin on suicide based on that album cover showing a car parked on the beach with a man's clothes and shoes cast on the beach with him nowhere to be seen. In the car we see notes including one that has "A Fine Day To Exit" on it, plus there's beer cans, a liquor bottle, a cell phone with "missed call" on it, a bottle of pills and a gun. Also a picture of him, his wife and son. The man was on a mission to end his life but the question is why? And did he? Well there wouldn't be a part two if he had drowned in the water which I think is something you would know if you listened to the ending of that album. I stated in my review at the time that he was still alive based on that final track.

So maybe this is an answer to the critics but I also feel it's closure to an album that had more questions than answers. Having said that they really keep things close to the vest as to why he was going to end his life leaving a lot of hints on this record in the process. They seemed pretty intent on putting a positive spin on this one and hence on "A Fine Day To Exit" even with the title of this record. This feels like they're changing the perceived negativity that many had for "A Fine Day To Exit". Also they even have their name on this album spelled differently as ANA_THEMA. I would describe the music and lyrics as meaningful and emotional. More electronics than ever and the sound is fairly stripped down with plenty of piano at times. Travis Smith takes care of the art work once again.

So what's this all about? Well I can't be sure but based on a couple of things I think he may have lost his son which was the reason for the suicidal attitude. Just a hunch based on the album cover of "A Fine Day To Exit" which shows the face of a boy in that car parked on the beach. On the back cover of the same album the father is shown driving at night and seeing this boy on the road. Clearly a ghost and "The Optimist" has a song called "Ghosts" but perhaps the biggest detail is the final moments of this album where our subject pulls up to a house knocks on the door and as it opens there's a pause and then he says "How are you?"(he's back) then minutes of silence before we hear our subject years later I believe playing with his new baby son as birds chirp. He's so happy here unlike the recent past. The Optimist indeed.

"32.63N 117.14W" is the exact coordinates of Silver Strand Beach in San Diego California where our story takes place. Love the connection between the two albums as the seemingly never ending waves that ended "A Fine Day To Exit" start us off here as we hear our subject breathing very heavily as he gets back into his car and starts it up. Then he starts to find a radio station. It ends with electronic beats and this blends into "Leaving It Behind" a top three track for me. I really like the guitar that joins the beats as male vocals also join in. A fuller sound 1 1/2 minutes in and it's even fuller before 2 1/2 minutes as they rip it up here. Nice. Back to the beats and atmosphere before 3 minutes.

"Endless Ways" is where we hear the wondrous vocals of Lee Douglas. She joins the piano that opens the song then beats and strings are added before it kicks in to a more powerful sound a minute later. His cell phone can be heard ringing(poor wife). "The Optimist" starts with piano as male vocals join in. Lee comes in as well giving us a rare listen to ANATHEMA having male and female vocals working together. Strings too then we get a full sound after 2 minutes. A calm with strings before 3 minutes then it builds to a full instrumental sound as Lee then offers up some passionate vocal melodies. A calm after 5 minutes ends it.

"San Francisco" is maybe where our subject went eventually after not going through with the suicide. This is a fast paced instrumental as we get piano and electronic beats at first and there's more depth of sound before 3 1/2 minutes. A train can be heard to end it. "Springfield" is my favourite song on here. Relaxed guitar to start and it's sparse. Piano too along with atmosphere then drums. Lee comes in singing this line over and over "How did I get here, I don't belong here". Love the Post-Rock guitars that absolutely light up the soundscape. So much emotion here. Whispered male words with sirens in the background ends it.

"Ghosts" is spacey before Lee along with piano and drums take over. Her voice sounds so beautiful here after a minute. Lots of atmosphere too. "Can't Let Go" is a top three for me. Some energy here with busy drumming, guitar and male vocals. The music ends and then you can hear someone walking, opening and closing a door then turning on the radio. "Close Your Eyes" opens with relaxed piano in atmosphere as Lee comes in singing slowly. Some guest trombone before 2 1/2 minutes with a beat as the vocals step aside briefly. "Wild Fires" is something California knows all too well. Piano as male vocals come and go. Electronic beats after 2 minutes then it kicks in heavily before 3 1/2 minutes. It settles down before 5 minutes and waves can be heard as it blends into "Back To The Start" the almost 12 minute closer.

There are minutes of silence here which are important to the story. Acoustic guitar joins the waves then reserved male vocals. A fuller sound before 1 1/2 minutes minus the waves. Orchestral sounds after 4 minutes as the vocals stop. They're back after 5 minutes. The music fades away after 7 minutes as we hear a knock at a door and as it opens a pause before he says "How are you?" After minutes of silence which I believe represent years we get acoustic guitar along with birds chirping and the sound of a baby boy talking with his dad. Our subject is so happy to be with his new son. The optimist.

I'm probably way off here with my thoughts on what the two albums are all about but I have to say the concept adds to my rating here. The music while having many incredible moments needed that extra bump from the lyrics to be a 4 star album which I believe it is. I also know like Drew mentions in his review that months with this could bump it up even higher. Man has this band changed it's stripes over the years.

 Vagabond by SUBTERRANEAN MASQUERADE album cover Studio Album, 2017
3.95 | 11 ratings

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Vagabond
Subterranean Masquerade Experimental/Post Metal

Review by Windhawk
Special Collaborator Honorary Collaborator

4 stars US formed, Israel based band SUBTERRANEAN MASQUERADE have been around for two decades at this point. Those 20 years have seen them release two EPs and three full length albums. "Vagabond" is the most recent of the latter and was released through Swedish label ViciSolum Records in the early fall of 2017.

This is a band that made a name and a reputation for themselves as a highly creative progressive metal band back in the day. These days I'd say that they are primarily a progressive rock band, using elements from progressive metal to flavor their compositions rather than the other way around. That being said, these folks are rather more creative and innovative than merely combining genre elements from these two genres, as there is a lot going on here in addition to that.

Even of one didn't know that this band operates out of Israel, most people would probably guess as much. If not pinpointing this band specifically to Israel then at least to the Middle East. This due to the liberal amount of world music elements from that region that is a mainstay throughout this album. Additional percussion details, violins using the tonal range particular to that part of the world, reeds and brass doing pretty much the same, and occasionally also female backing vocals of the kind you would have to be uninformed to not categorically place somewhere in the Middle East as far as origins goes.

These elements are used in material that does, indeed, combine elements from progressive metal into a greater whole that correlates closer with progressive rock. Folk music details are obviously a big part of this greater picture too, and a few token jazzier details does appear here and there too. The saxophone is used frequently throughout as well, complementing both the rock and the metal oriented escapades, and effectively in both modes too I should add. The piano also has a central role throughout, often alternating with the organ to supplement whatever guitar mode that is present - be it wandering plucked guitars, firm guitar licks or more majestic and dominant metal riffs.

The band have opted for clean lead vocals in the greater majority of the vocal sequences, but still with room for some dark growls to take over now and then, either taking the lead vocal spot or as an underlying contrast to the clean and melodic lead vocals. Both aspects works very well too, surprisingly also when the band isn't operating inside a metal context.

Subterranean Masquerade describes themselves as a symphonic prog powerhouse these days, and that description comes across as rather appropriate. More progressive rock than progressive metal these days, and with something of an emphasis on easy to like material. Despite some rather advanced structures here and there this album comes across as both compelling and inviting, a production that should have a fairly broad reach despite of rather than because of it's at times complex and sophisticated movements.

A slight letdown is the cover of Bowie's classic Space Oddity at the very end. It is difficult to replicate the sheer amount of emotion in this song, especially when you decide to alter the song, even if only ever so slightly. In this case by reducing pace and adding a darker, heavier sheen, plus adding violins at the end to possibly emphasize the drama. This take on it is rather good, but it lacks the momentum and subtle emotional grip of the original. An interesting cover, but not a cut that elevates the overall album experience as far as I'm concerned.

If you tend to enjoy innovative and creative progressive rock, and finds the notion of a band that blends in a liberal amount of world music elements, quite a few metal touches and a select few extreme metal details into a progressive rock context to be appealing, then this latest production from Subterranean Masquerade is one that warrants an inspection.

 Écailles De Lune by ALCEST album cover Studio Album, 2010
4.02 | 276 ratings

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Écailles De Lune
Alcest Experimental/Post Metal

Review by ProgAlia

5 stars The main word that comes to mind for this album: Gorgeous. A few others: Ethereal, dreamy, lush, soothing. Maybe sometimes also intense or somber. It's a succinct and heavily atmospheric album that knows its sound and knows what it wants to do with it, and thus ends up being quite a joy to listen to. I like the unpredictability of the songs.The harsh vocals bring a whole new level to Alcest's music. Far from being depressing, this album is beautiful, tinged with nostalgia as always. ALCEST combines several elements from shoegaze, black metal, ambient, and progressive all into one album. which is extremely impressive and something not a lot of bands can pull off and sound GREAT doing it. For fans of atmosphere and relatively pleasant-sounding, Écailles de lune is one of the most interesting and fascinating albums you will ever hear.
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Experimental/Post Metal bands/artists list

Bands/Artists Country
*SHELS United States
11 AS IN ADVERSARIES France
19 A.D.D. United States
21 EYES OF RUBY Netherlands
THE 3RD AND THE MORTAL Norway
413 United States
5IVE United States
6:33 France
A LOST STATE OF MIND United States
A((WAKE)) United States
AABSINTHE France
ABANDON Sweden
ABYSSE France
ACROSS TUNDRAS United States
ACYL France
ADMIRAL BROWNING United States
ADRIFT Spain
AFTER MY OWN United States
AGALLOCH United States
AGES GONE Germany
AKPHAEZYA France
AKROMA France
ALASKAN Canada
ALCEST France
ALTAR OF PLAGUES Ireland
AMARA United States
AMATERAZU Portugal
AMBEON Netherlands
AMENRA Belgium
AMESOEURS France
AMIA VENERA LANDSCAPE Italy
ANATHEMA United Kingdom
ANCESTORS United States
AND HARMONY DIES Italy
ANGEL EYES United States
ANTIGUA Y BARBUDA Spain
ANTIMATTER Multi-National
ANUBI Lithuania
AORIA Sweden
APOCALIPSIS Mexico
APOCRYPHAL VOICE Finland
APOKATASTASIA Switzerland
APSE United States
ARCADE MESSIAH United Kingdom
THE ARKITECHT Mexico
ARKTIKA Germany
AS LIGHT DIES Spain
ASIDEFROMADAY France
ASPIRATION Norway
ASTROHENGE United Kingdom
ASTRONAUT DOWN United States
AT THE SOUNDAWN Italy
THE ATLAS MOTH United States
ATMOSPHERES Belgium
THE ATOMIC BOMB AUDITION United States
ATROX Norway
AUSSITÔT MORT France
AUSTARAS United States
THE AXIS OF PERDITION United Kingdom
AZIOLA CRY United States
BACK WHEN United States
BAK Australia
BARONESS United States
BAT CASTLE United States
BATTLE OF MICE United States
BATTLEFIELDS United States
BAUDA Chile
BEAK United States
BEECHER United Kingdom
BEFORE THE EYEWALL United States
BEHIND THE SUN Israel
BEING United States
ADRIAN BENAVIDES United States
BIRUSHANAH Japan
BISON B.C. Canada
BLACK MATH HORSEMAN United States
BLACK SEA Brazil
BLACK SHEEP WALL United States
BLACKWAVES Germany
BLINDEAD Poland
BLOOD & TIME United States
BLUT AUS NORD France
BOBEL Costa Rica
BOSSK United Kingdom
BOTANIST United States
BRAIN TENTACLES United States
BRIDGES TO DREAMS Canada
BUNKUR Netherlands
BURIED INSIDE Canada
BURN DOWN ROME United Kingdom
BURWEED Finland
BUTTERFLY TRAJECTORY Poland
CAINA United Kingdom
CALDERA France
CALLISTO Finland
THE CANCER CONSPIRACY United States
CANDIRIA United States
CAPRICORNS United Kingdom
CAPTURE THE SUN United States
CARNIVAL IN COAL France
CARONTTE Spain
CATACOMBE Portugal
CAVE IN United States
CELEBRITY SEX SCANDAL United States
CELESTINE Iceland
CHASE THE SUNSET United Kingdom
THE CHRONICLES OF ISRAFEL Canada
CHRYST Austria
THE CIRCLE ENDS HERE Italy
CIRUELO CILINDRICO Spain
CLERIC United States
CLOUDKICKER United States
COALESCE United States
COLD BODY RADIATION Netherlands
A COLD DEAD BODY Italy
COLDWORLD Germany
COME SLEEP Sweden
COMITY France
CONIFER United States
CONSECRATION Serbia
CORMORANT United States
COSMONAUTS DAY Russia
COUNTERVELA Ireland
CRIB45 Finland
CULT OF LUNA Sweden
D.U.N.E. Italy
DAKRYA Greece
DAMASCUS United States
DARK CASTLE United States
DARK SUNS Germany
DARKESTRAH Germany
DARKSPACE Switzerland
DAUGHTERS OF FISSION United States
DAY WITHOUT DAWN United States
DE OMEGA United States
DEADBIRD United States
DEADSOUL TRIBE United States
DEAFHEAVEN United States
THE DEATH OF HER MONEY United Kingdom
DECORTICA New Zealand
DEEP IN THOUGHT Germany
DEFYING Poland
DETERIOR United States
DEVIL SOLD HIS SOUL United Kingdom
DIESTO United States
DIGRESSION ASSASSINS Sweden
DIRGE France
DISAPPEARER United States
DIVINA ENEMA Belarus
DØDSVERK Norway
DORNENREICH Austria
DOTZAUER Italy
DR. SLAGGLEBERRY United Kingdom
DRAWN Norway
DREARE Czech Republic
DREARINESS Italy
DYING SUN United States
EARTH United States
EAST OF THE WALL United States
EBONY LAKE United Kingdom
ECHOES United Kingdom
ECHOES OF YUL Poland
ECHOSILENCE Estonia
EGOIST Poland
EHNAHRE United States
EIGHT BELLS United States
EINNA France
ELLIPSIS France
EMPIRES United States
EMPTY YARD EXPERIMENT United Arab Emirates
ENDER New Zealand
ENDNAME Russia
EPHEL DUATH Italy
EPISTASIS United States
ETERNAL DEFORMITY Poland
ETHERSENS France
EVIL INSIDE Spain
EX CURIA Australia
EX EYE United States
EXOTIC ANIMAL PETTING ZOO United States
EXTINCTION ALGORITHM Romania
FALL OF EFRAFA United Kingdom
FALLOCH United Kingdom
FALLS OF RAUROS United States
FEN United Kingdom
FIRMAM3NT Spain
FLEURETY Norway
FLOOD THE DESERT United States
FOLLOW THE WHITE RABBIT Russia
A FOREST OF STARS United Kingdom
FORMLOFF Norway
FOUNTAINHEAD Germany
FROM OCEANS TO AUTUMN United States
FUTURIAN Canada
THE GABRIEL CONSTRUCT United States
GANON United States
GARDEN OF SHADOWS United States
GARY SUICIDAL KIDS COMMANDO France
THE GATHERING Netherlands
GENERATION OF VIPERS United States
GENGHIS TRON United States
GIANT SQUID United States
GIGANTIC BRAIN United States
GIRE Hungary
GLETSCHER Switzerland
GNAW THEIR TONGUES Netherlands
GODSEND Norway
GONIN-ISH Japan
GORDIAN KNOT United States
GOSPEL United States
THE GRASSHOPPER LIES HEAVY United States
GRAVITON United States
GRAYCEON United States
THE GREAT OLD ONES France
GREEN CARNATION Norway
HAIKU FUNERAL Multi-National
HAIL SPIRIT NOIR Greece
HALCYON Australia
HAMMERS OF MISFORTUNE United States
HAND United Kingdom
HARVEY MILK United States
HEIRS Australia
HELIUM HORSE FLY Belgium
HELLAS MOUNDS United States
HERETOIR Germany
HIPOSPADIA Spain
HUMANFLY United Kingdom
HVOSCH Russia
HYDRA Mexico
HYPNO5E France
IDENTIFIED United States
IDIOT SAINT CRAZY France
THE ILLNESS United States
IN THE WOODS... Norway
IN.OVO Canada
INCOMING CEREBRAL OVERDRIVE Italy
INDUKTI Poland
INTER ARMA United States
INTRONAUT United States
IO United Kingdom
ION United States
IREPRESS United States
IRONWOOD Australia
IRREVERSIBLE United States
ISIS United States
ISTHMUS United States
IZAH Netherlands
JAKEL Canada
JANVS Italy
JESU United Kingdom
JEWY SABATAY Serbia
OLIVER KAAH Finland
KAILASH Italy
KALKI AVATARA Italy
KARABOUDJAN Sweden
KEELHAUL United States
KEKAL Indonesia
KHANATE United States
KHEMEÏA France
KHOMA Sweden
KHUDA United Kingdom
KICK THE BUTTERFLY Australia
KINGDOM Belgium
KLABAUTAMANN Germany
KOLLWITZ Norway
KONG Netherlands
KONGH Sweden
KOSMOGRAD Canada
KRAKOW Norway
KRUGER Switzerland
KYLESA United States
LANDFORGE United Kingdom
LANTLOS Germany
LATITUDES United Kingdom
LEFT BRAIN United States
LENTO Italy
LESBIAN United States
LIGHT BEARER United Kingdom
LITHIUM DAWN United States
LÖBO Portugal
LOOK TO WINDWARD New Zealand
LORUS United States
LOTUS THIEF United States
LUDICRA United States
LYE BY MISTAKE United States
MADE OUT OF BABIES United States
MAHESH Chile
MAMMOTH New Zealand
MANATEES United Kingdom
MANDIBULBE France
MANES Norway
MANUSCRIPTS DON'T BURN Italy
MAR DE GRISES Chile
MARE United States
THE MASS United States
THE MATTERHORN PROJECT United States
MAUDLIN Belgium
MAUDLIN OF THE WELL United States
MEANDERING MINE Germany
MEMORIES OF A DEAD MAN France
MENISCUS Australia
MINDFOLD EXPRESS Bulgaria
MINSK United States
MIOSIS Sweden
THE MIRE United Kingdom
MIRRORTHRONE Switzerland
MISANTHROFEEL Russia
MOANAA Poland
MOD FLANDERS CONSPIRACY United States
MOLOKEN Sweden
MOMENTUM Iceland
MONDRIAN OAK Italy
MONUMENTUM Italy
MORAINES Croatia
MORNE United States
THE MORNINGSIDE Russia
MORTIFERIA Norway
MOSE GIGANTICUS United States
MOSKAU Germany
MOUNTAINS BECAME MACHINES United Kingdom
MOUTH OF THE ARCHITECT United States
MUTYUMU Japan
MY SILENT WAKE United Kingdom
MYSTER MÖBIUS Multi-National
MYSTIC Netherlands
NAHEMAH Spain
NAHRAYAN Spain
NANDA DEVI United States
NATIONAL SUNDAY LAW United States
NAUTICUS Finland
NEBRA Switzerland
NERO DI MARTE Italy
NEUMA Poland
NEUROSIS United States
NEVBORN Switzerland
NIHIL Serbia
NINTH MOON BLACK United States
NO HOME FOR HEROES Australia
NO MADE SENSE United Kingdom
NOCTIS Australia
NOEKK Germany
NORTH United States
NOVEMBRE Italy
NUCLEUS TORN Switzerland
OBSIDIAN KINGDOM Spain
THE OCEAN DOESN'T WANT ME South Africa
THE OCEAN Germany
OCOAI United States
OHGOD! South Africa
THE OLD DEAD TREE France
OLD MAN GLOOM United States
OMB Israel
THE OMEGA EXPERIMENT United States
OMEGA MASSIF Germany
ÖOOOOOOOOOO France
ORANSSI PAZUZU Finland
ORDO DRACONIS Netherlands
ØRKENKJØTT Norway
ORPHANED LAND Israel
ORTHODOX Spain
OSI United States
OSTROVA Spain
THE OTHER SIDE OF THE SKY United States
OUTOPSYA Italy
OUTRUN THE SUNLIGHT United States
OVERMARS France
ÖXXÖ XÖÖX France
PAN.THY.MONIUM Sweden
PANOPTICON United States
THE PAX CECILIA United States
PECCATUM Norway
PELICAN United States
PET SLIMMERS OF THE YEAR United Kingdom
PIKE Sweden
PINKLY SMOOTH United States
THE POSTMAN SYNDROME United States
PRISMA Switzerland
PROGHMA-C Poland
THE PROPHECY United Kingdom
PRYAPISME France
PSYCHOFAGIST Italy
PSYKUP France
PYRAMIDS United States
QUALEACEANS United Kingdom
QUARANTADUE Italy
QUBE Poland
QUESTIONER United States
RADAR Finland
RADIATION 4 United States
RAIN DELAY Serbia
RAINROOM Finland
RAXINASKY Belgium
RED PAPER DRAGON United Kingdom
REFRACTION Ireland
THE REPTILIANS United States
RETURNING WE HEAR THE LARKS United Kingdom
RIVIERE France
ROSETTA United States
ROUTE NINE Sweden
RWAKE United States
RYOKUCHI Japan
SAL Y MILETO Ecuador
SALVICTION Poland
SANNHET United States
SCHIZOID LLOYD Netherlands
SCORCHED SHORE United States
SECONDSKIN United Kingdom
SENMUTH Russia
SENSUAL NOISE Belgium
SEPIA DREAMER Sweden
SEVEN United States
SEVEN NAUTICAL MILES Sweden
SEVENTH EVIDENCE / KA.MMEN Ukraine
SHELTER RED United States
SHELVING Switzerland
SHEPHERDS OF CASSINI New Zealand
SHRINEBUILDER United States
SIGH Japan
SIKA REDEM United Kingdom
SISARE Finland
SKAGOS Canada
SKEWED SKIES Germany
SKUGGSJÁ Norway
SLEEP MAPS United States
SLEEPING IN GETHSEMANE United States
SMALLMAN Bulgaria
SMOHALLA France
SNOWBLOOD United Kingdom
SO IS THE TONGUE United States
SOEN Multi-National
SOLSTAFIR Iceland
SONS OF ALPHA CENTAURI United Kingdom
SPACEKING Russia
SPRING & YOUTH Serbia
STALINGRAD Spain
STANDING OVATION Finland
STARE AT THE CLOUDS Australia
STATS United States
STEAK NUMBER EIGHT Belgium
A STORM OF LIGHT United States
SUBROSA United States
SUBTERRANEAN MASQUERADE Multi-National
SUFFOCATE FOR FUCK SAKE Sweden
SUMAC Multi-National
SUNPOCRISY Italy
SUPERCONTINENT United States
THE SUSPENDED CONGRESS Ireland
SWARM OF THE LOTUS United States
A SWARM OF THE SUN Sweden
SWITCH OPENS Sweden
SYDERALUS Argentina
TACOMA NARROWS BRIDGE DISASTER United Kingdom
TARANTULA HAWK United States
TELEPATHY United Kingdom
TEMPEL United States
TENOCHTITLAN Russia
TEPHRA Germany
TERRA TENEBROSA Sweden
TESA Latvia
TETRAFUSION United States
THANATOSCHIZO Portugal
THENCE Finland
FREDRIK THORDENDAL'S SPECIAL DEFECTS Sweden
THY CATAFALQUE Hungary
TIDES United States
TIDES FROM NEBULA Poland
TIME ZERO United States
TITAN Canada
TODTGELICHTER Germany
TOMYDEEPESTEGO Italy
TOOL United States
TOUNDRA Spain
TOWN PORTAL Denmark
DEVIN TOWNSEND Canada
TRANSMISSION0 Netherlands
TREPHINE United States
TRIBES OF NEUROT United States
TROLDHAUGEN Australia
TRUTHSEEKER United States
TUSK United States
TWIN ZERO United Kingdom
UARAL Chile
UFOMAMMUT Italy
UNA CORDA United Kingdom
UNEXPECT Canada
UNHOLD Switzerland
UNSOUL Germany
UPRISING FORMALHAUT Ukraine
URNA Italy
USER NE Spain
VAKA Sweden
VAURA United States
VED BUENS ENDE Norway
VIRGIN BLACK Australia
VIRUS Norway
VISCERA/// Italy
VOID United Kingdom
VOID OF SILENCE Italy
VOID OF SLEEP Italy
VULTURE INDUSTRIES Norway
THE WATERS DEEP HERE United States
WE LOST THE SEA Australia
WE MADE GOD Iceland
WEAKLING United States
WHAT MAD UNIVERSE France
WHAT THE BLOOD REVEALED United Kingdom
WHEN DAY DESCENDS Australia
WHIRLING Sweden
WHOURKR Multi-National
WIDEK Poland
WINDHAM HELL United States
WINDMILLS BY THE OCEAN United States
WINDS Norway
ANDY WINTER Norway
WIZARD RIFLE United States
WOBURN HOUSE Germany
WOODS OF YPRES Canada
A WORKING MODEL United States
WORM OUROBOROS United States
WYTCHCRYPT United States
YAKUZA United States
YAVU Chile
YEAR OF NO LIGHT France
YOB United States
YTO SOLREISER Norway
ZEBULON PIKE United States
ZENI GEVA Japan
ZOZOBRA United States
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