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EXPERIMENTAL/POST METAL

A Progressive Rock Sub-genre


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Experimental/Post Metal definition

 

Experimental Progressive Metal

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

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

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

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

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

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

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


Post Metal

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

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

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

Variations of Post-metal

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

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

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

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


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

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

Experimental/Post Metal Top Albums


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

4.23 | 1093 ratings
LATERALUS
Tool
4.23 | 524 ratings
TERRIA
Townsend, Devin
4.23 | 545 ratings
PART THE SECOND
Maudlin Of The Well
4.20 | 452 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.32 | 95 ratings
IMAGINARY SONICSCAPE
Sigh
4.17 | 549 ratings
JUDGEMENT
Anathema
4.25 | 134 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.17 | 245 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.16 | 230 ratings
IN A FLESH AQUARIUM
Unexpect
4.16 | 217 ratings
BATH
Maudlin Of The Well
4.22 | 103 ratings
SOL NIGER WITHIN
Thordendal's Special Defects
4.60 | 29 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.12 | 282 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.20 | 115 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult of Luna
4.07 | 675 ratings
ĆNIMA
Tool
4.08 | 485 ratings
ALTERNATIVE 4
Anathema
4.12 | 193 ratings
PANOPTICON
Isis
4.09 | 276 ratings
MABOOL - THE STORY OF THE THREE SONS OF SEVEN
Orphaned Land
4.08 | 283 ratings
THE MANTLE
Agalloch
4.31 | 49 ratings
SOULS AT ZERO
Neurosis
4.68 | 21 ratings
FEA JUR
Lye By Mistake
4.04 | 736 ratings
WE'RE HERE BECAUSE WE'RE HERE
Anathema
4.08 | 222 ratings
OCEAN MACHINE: BIOMECH
Townsend, Devin
4.06 | 286 ratings
SYNCHESTRA (THE DEVIN TOWNSEND BAND)
Townsend, Devin
4.06 | 220 ratings
S.U.S.A.R.
Indukti
4.07 | 157 ratings
OCEANIC
Isis
4.04 | 240 ratings
ÉCAILLES DE LUNE
Alcest
4.18 | 70 ratings
SUSPENDED ANIMATION DREAMS
Subterranean Masquerade
4.06 | 165 ratings
WAVERING RADIANT
Isis
4.00 | 714 ratings
WEATHER SYSTEMS
Anathema
4.22 | 51 ratings
WRITTEN IN WATERS
Ved Buens Ende
4.08 | 110 ratings
THE PAINTER'S PALETTE
Ephel Duath
4.08 | 101 ratings
OMNIO
In The Woods...
4.00 | 280 ratings
FABLES OF THE SLEEPLESS EMPIRE
Unexpect
4.52 | 21 ratings
TűNő IDő TÁRLAT
Thy Catafalque
4.00 | 238 ratings
EPICLOUD (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.00 | 227 ratings
OFFICE OF STRATEGIC INFLUENCE
OSI
4.10 | 70 ratings
LEAVING EDEN
Antimatter
4.18 | 44 ratings
THE MALEDICTION FIELDS
Fen
4.32 | 28 ratings
THE GALILEAN SATELLITES
Rosetta
4.04 | 93 ratings
IF_THEN_ELSE
Gathering, The
4.75 | 13 ratings
MYSTER MÖBIUS
Myster Mobius
4.40 | 21 ratings
OPPORTUNISTIC THIEVES OF SPRING
Forest Of Stars, A
3.97 | 130 ratings
EPOCH
Fen
3.91 | 343 ratings
DECONSTRUCTION (DEVIN TOWNSEND PROJECT)
Townsend, Devin
3.91 | 249 ratings
THE NEVER ENDING WAY OF ORWARRIOR
Orphaned Land
4.20 | 31 ratings
UNDERSTANDING CONSEQUENCES
Day Without Dawn
3.99 | 88 ratings
VERTIKAL
Cult of Luna
3.97 | 105 ratings
NIGHTTIME BIRDS
Gathering, The
3.98 | 87 ratings
PELAGIAL
Ocean, The
4.18 | 31 ratings
EVE
Ufomammut
3.90 | 265 ratings
ADDICTED (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.02 | 63 ratings
PREHISTORICISMS
Intronaut
4.01 | 64 ratings
PRECAMBRIAN
Ocean, The
4.04 | 53 ratings
TEETHED GLORY AND INJURY
Altar of Plagues
4.83 | 10 ratings
ELIL
Fall of Efrafa
3.91 | 178 ratings
ACCELERATED EVOLUTION (THE DEVIN TOWNSEND BAND)
Townsend, Devin
4.10 | 37 ratings
PAINTING ON GLASS
3rd And The Mortal, The
3.95 | 83 ratings
THE FIRE IN OUR THROATS WILL BECKON THE THAW
Pelican
3.93 | 100 ratings
SOUVENIRS D'UN AUTRE MONDE
Alcest
4.12 | 33 ratings
SEA OF THE DYING DHOW
shels
4.04 | 45 ratings
RÓKA HASA RÁDIÓ
Thy Catafalque
4.35 | 17 ratings
ABSOLUTE ZERO
Tetrafusion
4.51 | 13 ratings
TERRAFORMING
Postman Syndrome, The
3.90 | 129 ratings
HOW TO MEASURE A PLANET?
Gathering, The
4.05 | 39 ratings
PLAINS OF THE PURPLE BUFFALO
shels
3.84 | 445 ratings
A NATURAL DISASTER
Anathema
3.97 | 62 ratings
A SUN THAT NEVER SETS
Neurosis
3.89 | 134 ratings
GORDIAN KNOT
Gordian Knot
3.96 | 63 ratings
ANTHROPOCENTRIC
Ocean, The
3.97 | 57 ratings
OI MAGOI
Hail Spirit Noir
3.84 | 335 ratings
FALLING DEEPER
Anathema
4.60 | 11 ratings
MICROCOSMOS
Thy Catafalque
3.86 | 179 ratings
ALL IS ONE
Orphaned Land
3.83 | 702 ratings
10,000 DAYS
Tool
3.83 | 386 ratings
A FINE DAY TO EXIT
Anathema
4.09 | 30 ratings
RENGETEG
Thy Catafalque
4.19 | 22 ratings
A SHADOWPLAY FOR YESTERDAYS
Forest Of Stars, A
3.88 | 119 ratings
THE ACOUSTIC VERSES
Green Carnation
3.83 | 284 ratings
GHOST (DEVIN TOWNSEND PROJECT)
Townsend, Devin
3.83 | 258 ratings
KI (DEVIN TOWNSEND PROJECT)
Townsend, Devin
4.26 | 18 ratings
THE LOCUST YEARS
Hammers of Misfortune
4.71 | 9 ratings
MELANCHOLIE˛
ColdWorld
4.28 | 17 ratings
MANTIIS
Obsidian Kingdom
4.17 | 22 ratings
CARHEART
Virus
4.00 | 40 ratings
HEART OF THE AGES
In The Woods...
4.01 | 38 ratings
WHITE TOMB
Altar of Plagues
4.33 | 15 ratings
HEX: OR PRINTING IN THE INFERNAL METHOD
Earth
4.02 | 36 ratings
THE BEES MADE HONEY IN THE LION'S SKULL
Earth
4.30 | 16 ratings
NOIR
Callisto
3.92 | 64 ratings
THE EYE OF EVERY STORM
Neurosis
3.85 | 139 ratings
MANDYLION
Gathering, The
3.92 | 60 ratings
GRAVE HUMAN GENUINE
Dark Suns
3.83 | 171 ratings
LES VOYAGES DE L'ÂME
Alcest
3.83 | 177 ratings
ASHES AGAINST THE GRAIN
Agalloch
3.90 | 67 ratings
EXISTENCE
Dark Suns
3.84 | 145 ratings
IN THE ABSENCE OF TRUTH
Isis
3.83 | 165 ratings
MARROW OF THE SPIRIT
Agalloch
4.26 | 16 ratings
CENOTES
Giant Squid
3.96 | 42 ratings
THE IMAGINARY DIRECTION OF TIME
Winds

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

REQUIEM - MEZZO FORTE
Virgin Black
THIS GRAND SHOW
Grayceon
KÖLD
Solstafir
IF_THEN_ELSE
Gathering, The

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Latest Experimental/Post Metal Music Reviews


 Deconstruction (Devin Townsend Project) by TOWNSEND, DEVIN album cover Studio Album, 2011
3.91 | 343 ratings

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

Review by FragileKings
Prog Reviewer

4 stars So, this is the intense and chaotic progressive metal album that comprises one fourth of the original concept of the Devin Townsend Project (which has since progressed into six albums with "Epicloud" and also "Sky Blue" from the "Zed Squared" double disc). Having four of Strapping Young Lad's albums (Devin's other band from 1995 to 2006), I was expecting something really similar because the reviews I had read suggested so. Devin said in an interview that this is where he wanted to take Strapping Young Lad, and in another interview he said in response to a question about reforming SYL that "This is the kind of metal I want to do now".

Considering all this, I found my expectations were not met. Instead, I was faced with a mountain of creative music that I realized was going to take some time to explore and become familiar with. There is only one track here that I feel is similar to SYL's music, "Poltergeist" (an interesting title as the simultaneously released sister album is entitled "Ghost"). The rest of the album covers a surprising range of music, though still in the metal mould, from "Praise the Lowered" with lots of mellow and dark electronica to the 16-minute plus "The Mighty Masturbator" with various metal shades as well as a club music section, to the wild theatrical ride of the title track.

Fans of Devin will know that he has often worked with female vocalists (at least five that I can think of) because he writes music with a certain vocal quality or sound in mind that only woman can provide. He once said that he doesn't need to work with male vocalists because he can do most of what he needs himself. On this album, however, he wanted to make a real metal statement and called in quite a host of male guest vocalists. At first, I find the guests are not so easy to pick out. Devin is an accomplished screamer, growler, shouter, and sneerer, as well as singer, howler, whisperer, and crooner. After several listens now, I can better identify the guest vocal performances, particularly Oderus Urungus on the title track, Ihsahn on "Juular", and Paul Masvidal and Joe Duplantier on "Sumeria". Some have complained that the guest vocalists weren't used to their full capacity; however, I only feel the Mikael Akerfeldt of Opeth has taken the most time to pick out considering his vocal talents.

The album alternates between shorter songs ranging between 3:29 and 6:37, and longer ones ranging between 9:27 and 16:38. My general impression of the album is that it is a precursor to the "Zed Squared" disc, "Ziltoid Dark Matters" because it includes an orchestra and choir and in parts sounds like a metal musical. It is loosely a story about a man seeking the secrets of the universe and finds himself in Hell before the Devil who offers him a cheeseburger which contains all he seeks to know. But he can't eat the burger as he's a "vege-ma- tarian" and so his quest ends in vain. I believe the message here is that we can't expect to solve life's mysteries as long as we cling to a single ideal. The limitations we impose upon ourselves will forever blind us to the truth.

The music is generally dark, brooding at times, full of rage at others, and very intense. At other times though, there are some slower moments, some of which are rather beautiful. The height of the theatrics lie in three songs: "Juular", "The Mighty Masturbator" and "Deconstruction". "Juular" features a choir singing back up and if you've seen the video with the train riding through a hellish landscape, you'll understand how the choir's vocal contribution suits the image of a train. When Ihsahn sings the chorus, the choir and music may inspire images of a very dark scene in a Tim Burton movie. "The Mighty Masturbator", in spite of its humorous title, is mostly quite serious, though the part about saving the world features some goofy spoken dialogue. Ziltoid himself makes a guest appearance here, first in voice only and later announcing that he is indeed Ziltoid the Omniscient. There's this crazy club music section where Greg Puciato sings "We praise God. He lives inside of us," and later "We praise ourselves," and finally, "We praise Satan". I find this part really cool to listen to and the meaning of the three statements together could be interpreted rather deeply and philosophically. The song concludes with a carnival atmosphere and Ziltoid introducing some freak show characters like the four-face boy, the man with seventeen testicles, and the Mankee Brothers who provide flatulence free of charge.

The wackiest, zaniest song on the album is the title track. Beginning with two scientists discussing the brain in a toilet (Devin's toilet humour fetish in full force here), the song seems to jump from theme to theme, mostly including wild, over-the-top guitar soloing, machinegun fire drumming, a choir (who sing "All beef patties, pickles onions on a sesame seed bun" in one part), and some crazy dialogue provided by Devin and Oderus (and I'm sure a third party). Fredrik Thordendal of Messhuga contributes a crazy guitar solo, too. This song really allows Devin to indulge in his elementary school boy humour with plenty of farts, toilet sounds, misplaced emphasis in the word happiness (hapPENIS), and some nose clearing and bizarre vocal sounds. It is the craziest song I have ever heard that still pretends to be serious.

I can't say there's anything I don't like about this album. True it will not impress everyone. People who don't like heavy metal will best keep away, and people who prefer their metal a bit simpler or more technical or more serious can also spend their money elsewhere. But this is one very imaginative album and one that is slowly growing on me. Recommended for the adventurous.

 Opiate (EP) by TOOL album cover Singles/EPs/Fan Club/Promo, 1992
2.77 | 169 ratings

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Opiate (EP)
Tool Experimental/Post Metal

Review by Pastmaster

4 stars Unlike later albums like 'Lateralus', Tool's debut EP 'Opiate' shows a much rawer and angry sound. 'Undertow', which would come out a year later, still maintains some similar qualities but still enhances and adds to their sound.

Opiate has four studio recordings and two live performances, and one hidden track. The opening track 'Sweat' is my personal favorite on this EP, having both similarities and differences from their later albums. Maynard James Keenan's vocals are already powerful and standing out. Adam Jones gives some great riffing during the bridge. Both 'Hush' and 'Part of Me' are songs perfect for headbanging, with good crunching guitar. The two live tracks are both really good performances, and the final track 'Opiate' is great other then the odd hidden track. The hidden track reminds me of the weirdness of 'Disgustipated' on the next album, except being much shorter.

Overall, 'Opiate' was a great beginning for my second favorite band. Short, but a great addition nonetheless.

 Eternity by ANATHEMA album cover Studio Album, 1996
3.65 | 272 ratings

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Eternity
Anathema Experimental/Post Metal

Review by TCat

3 stars This is Anathema's first attempt to venture away from their trademark doom metal sound into a more dynamic and varied sound. For the most part, they keep a lot of the same topics of interest in their songs, but they explore other sounds in a search for a sound they can call their own. The band does a pretty descent job of pulling it off, and there was a surprising lack of criticism from most of their fans about the sudden change of style.

Anathema has become a band lately that has received a lot of respect and it has been well earned. They have a pretty impressive discography and through most of it, you truly hear a progression to a much better sound, production and vocal quality. On this album, there are very few dirty vocals, where previous to this, all of their vocals were pretty much growling. The vocals aren't too bad, but there are a lot of issues and areas of weakness there that weren't yet worked out in this album. So you get a real raw feeling there, but it doesn't mix very well with the accent in the English lyrics. It's sometimes an irritating sound, but not bad enough to ignore the album.

As far as the instrumentals and orchestration, you can hear a huge improvement in the variation, composition and musicianship here. Even the instrumentals can be a little rough at times, but there is no doubt of where the band was going to go as far as professionalism. Here is a band that listened to criticism to improve their sound, and improve it they would do. That still doesn't mean you should ignore this album. There are some great tracks here and you can hear the attempts at emotion in both the voice and the instruments, and as a consequence, you get some great moments, notably in the "Eternity" trilogy and other songs where the vocals even come close to early David Gilmour vocals as in the Gilmour/Harper penned tune "Hope".

You can also pick out their explorative side starting to grow in "Suicide Veil" where if you can get around the vocals, you end up getting a very beautifully written song with a lot of emotion. The problem with the vocals and emotion is that sometimes it is over dramatized in an attempt to make the emotion stand out more, but again, the band was learning. Actually, the believability level is a lot higher in the sections where the vocals approach the most emotional points and come close to, but don't quite reach, the old dirty sounding vocals. It is actually a trait that is welcomed on this album mostly because it is done with better control than in previous attempts, and of course, dynamics are playing a much bigger part in this album. Even the use of dynamics would continue to improve as the band continue to put out more albums.

I have a lot of respect for this band and the growth they have had over the years. I was pushing my friends to listen to this band and some of them actually did listen to them and are now true fans. It is good to see them now getting the respect they deserve for improving their sound and perfecting it. On the way to perfection though, they were able to influence the sound of Goth- metal with albums like this one that would be released. I know there are a lot of fans that love this album, I have a slightly harder time with it because they were still working out the kinks in the new sound they were exploring. When they finally do find their own sound, what we have is a band that is up there with the best post-metal or progressive metal bands and for that I have respect for what they were doing with this album. They took some great steps with this album and they still came out of it with a lot of respect, so it was a step in the right direction. With some slight hesitation because of my respect for the album, I can only rate the album as good, but not essential. But it is a very bright 3 star album and if you like this post-metal sound then you should check it out at least, it might strike a stronger chord within you.

 Elegant... and Dying by VIRGIN BLACK album cover Studio Album, 2003
3.71 | 17 ratings

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Elegant... and Dying
Virgin Black Experimental/Post Metal

Review by TCat

4 stars This is a surprisingly well-done album full of gothic-metal prog done with an almost perfect balance of symphonic prog and progressive metal with just a touch of post-metal. The vocals are amazing with the lead singer belting out operatic type vocals with all types of vocals and a very small sprinkling of harshness, but not over the top. This is probably the first symphonic/operatic metal album I have heard that doesn't sound cheesy most of the way through. Virgin Black achieves believable orchestration that sounds totally in place every time which is something other symphonic metal bands like Savatage has had a hard time achieving.

It is hard to call this a thoroughly metal album though because there are so many dynamic differences in each track that you never get tired of any sound, except for maybe the first half of the epic 17 minute track "The Everlasting" which tends to drag a bit. But that is a very small problem as there are a lot of epic tracks on this album that are so well composed. This album is not a complete wall of metal either. The vocals, for the most part, are amazing, the musicianship is excellent and there is such a variety of sound and surprises here that it seldom gets boring. Heavy guitar is prominent in places and in others there is some beautiful piano and other acoustics. There are sudden changes in sound at times and other times it's gradual, but it is always well orchestrated and always cohesive. It is not choppy like many other albums where bands try to achieve this sound.

There are a few times the vocals can be slightly cheesy, but not too often. But the lead vocalist also shares a lot of time with a very dark choir giving the music a classical feel which also fits so well with the symphonic aspects of the album. The balance, like I said earlier, is perfect. The songs are mostly dark, but the rhythm is varied so that everything on here is not just a funeral- sounding dirge like many would be afraid to hear by a gothic band. Instead, there is some of that, but there are also fast passages and truly beautiful passages. The sound is somewhat similar to that of Agalloch, but with less growly vocals and better singing. The acoustics though are more pointed towards keyboards than guitars though and that is one difference. The overall feel is more gothic than folk which is another difference. The sound on this album is more theatrical than Agalloch also.

I have to admit that this a lot better than I expected. The compositional quality, the balance of sounds and styles, the great mix of loud and soft (dynamics), the addition of choir vocals, killer hooks and beautiful passages; all of this makes for a quality album which would be an excellent addition to any prog rock collection. The best thing about it all is that there is a perfect balance of moods and styles here. A lot of metal purists might not like the fact that the heaviness of the album is shared so evenly with the softer parts of the album, they tend to like the loud headbanging sound to be more prevalent on an album. But for me, I love both sounds especially when it is balanced so well. Surprisingly well done.

 Ghost (Devin Townsend Project) by TOWNSEND, DEVIN album cover Studio Album, 2011
3.83 | 284 ratings

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

Review by FragileKings
Prog Reviewer

4 stars If you were one who followed Devin Townsend's career from early on then no doubt the first instalment of the Devin Townsend Project series, 'Ki', was a surprise. Known for his various approaches to heavy metal, this album took a fairly big step away from what he was known for writing and recording. Yet the next two albums were heavy and loud, 'Addicted' having a strong pop flair but still being intense and 'Deconstruction' being a flagrant and shameless display of progressive metal. However, there was little that could have prepared the listener and fan for 'Ghost'.

Right from the beginning, you know that this is different. Flute! Clean electric guitar. A slow and easy, pretty melody and a song that makes you think of dreamily floating through soft summer clouds or soaking in a light meditative mood in a hot bath. 'Fly' sets the mood of the album but in no way defines it. From 'Heart Baby' and 'Feather' we only begin a journey through various shades and tones of light, beautiful, peaceful music with Devin's soft and lower register vocals, clean electric guitar, Kat Epple's flute and woodwinds, Katrina Natale's beautiful additional vocals, Mike St-Jean's light and subtle drumming, and even some banjo by Devin himself. Dave Young and Devin also provide plenty of synthesizer, sometimes soft and atmospheric, sometimes more like electronic relaxation music. Though iTunes has this album listed as metal, it is only by association with the Devin Townsend name. 'Ki' had its heavy moments. 'Ghost' is light years away from anything heavy or metal.

As with just about any Devin Townsend album, the music journeys through different moods and styles. 'Kawaii' and 'Ghost' give us acoustic guitar and strumming and are a little more upbeat, with 'Ghost' being that kind of song where you know the refrain and can sing it over and over and think it's beautiful and soul stirring without ever considering the rest of the song. 'Ghost' is a refrain of a melody with only subtle variations in the lyrics, a very light, warm spring day on the green grass in the park with the sun above kind of pretty song for wearing a hippy headband and going barefoot. The upbeat feel to the album here gets a bit more boost with 'Blackberry' which has some great folk banjo and guitar and reaches possibly the loudest point of the entire album just at the climax.

The next three tracks move away from the acoustic strumming and turn toward atmospheric electronic synthesizer sounds accompanied by more woodwinds. 'Monsoon', 'Dark Matters' and 'Texada' focus more on the electronic and keyboard side in what could be considered part three of this album's musical journey. 'Texada' is of particular interest to me because it is the name of an island between the British Columbia mainland and Vancouver Island, my hometown being just outside of Vancouver. Though it was not inhabited by the Coast Salish peoples, it was frequently visited by them for hunting and fishing. The tracks begins with what I will presume is a Coast Salish man saying something in his native tongue and he later returns as the track winds down, speaking about something which I wish I could understand. The synthesizer in this song at times almost comes across as forceful and strong compared to the rest of the album, almost approaching a pop sound.

'Seams' is a return to the acoustic strumming, even more gentle and a bit melancholy, and then the last two tracks are long, slowly developing pieces with further emphasis on calmness, relaxing and meditative atmosphere, and ambience, including seagulls and waves.

Some people have said that the album seems a little too long, especially some of the tracks over 9 minutes that repeat the same musical theme with little variation. It's true that the flute solo in 'Feather' seems to meander for a while, the keyboard themed passage in 'Texada' seems to go on with little variation for a bit, and the repeated lyrics of 'As You Were' (Money, honey, bloody mary, money, honey, might as well marry the ghost) are iterated once or twice too many for my taste. These are the points that I would say are the only detrimental features of the music on the album, and they are for the most part inconsequential as there are times I don't notice them.

The album is very well done. Devin never comes across as someone who is attempting to do a different style. He just does it and does it well. This is truly a stand out album in his career, though for certain he has a few. But nothing compares to this (I admit I haven't heard 'The Hummer' but I suspect there's not all this flute and acoustic guitar). Wikipedia describes this as New Age, progressive rock, experimental, and ambient. I detect only the faintest hints of any rock and very light rock at that. I would call it progressive music. The above labels tell you pretty much what you can expect to hear. I very much enjoy this album.

 Terria by TOWNSEND, DEVIN album cover Studio Album, 2001
4.23 | 524 ratings

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Terria
Devin Townsend Experimental/Post Metal

Review by FragileKings
Prog Reviewer

5 stars If the ratings on PA are any indication, then 'Terria' is the apex of Devin Townsend's solo career efforts before he went and formed a proper band, Devin Townsend Band, for his song-writing efforts outside of Strapping Young Lad. Disregarding the Punky Brewster band project of the mid-nineties, 'Terria' is his fourth solo album and it follows one of his most critically spurned albums, 'Physicist'. However, while 'Physicist' was for the most part a very thrash-based, aggressive album that suffered from a production that even the supporting band (the Strapping Young Lad dudes) disliked, 'Terria' delivers a greater diversity of sound in a warm, well-produced sonic atmosphere. It is as though the fruit went a bit sour with 'Physicist' but has reached perfect maturity here.

Typical of many of Devin Townsend's pre-Devin Townsend Project solo albums, 'Terria' integrates a variety of styles and influences. The opening track 'Olives' is very much post-metal / experimental with a spoken dialogue slowed down, sound effects, and a musical theme that takes time to build to a powerhouse of simple heavy chords. 'Mountain' begins with an intense pounding of heavy music with Devin singing in his softer, higher register. But the music then goes of exploring in a non-aggressive vein with a melody of 'whoa-whoa' before returning to the thunder of the beginning with a trademark scream. It's interesting to point out at this time that the guitar sound is not Devin's usual rich distortion tones but a simpler sound more like seventies proto- metal. If you are familiar with Captain Beyond's debut album then that is more like the guitar sound you will find here just with more bass backing it. It strikes me as having a very earthy feel to it, and in the song 'Canada', which almost has a slow and heavy country vibe to it, the guitar sound really suits the music.

Other styles to be found on 'Terria' include the unusual (for Devin) simple but classically influenced guitar solo in 'Deep Peace'; an 80's power ballad-styled number with 'Nobody's Here' which comes complete with an emotive guitar solo; an 80's hair-band song with 'Stagnant' that sounds like it could have been the closing track on an album by Cinderella or London Quireboys; and the pretty instrumental number 'Down and Under', which begins with some acoustic strumming and gradually moves to a heavier theme but not without returning to its upbeat sound at the conclusion.

For a Devin Townsend album (or Strapping Young Lad for that matter), 'Terria' includes an unusual amount of guitar soloing. According to the article on Wikipedia, Devin doesn't like shredding and only includes a guitar solo is he feels it can work within the musical framework of a song. Thus it is possible to find few if any proper guitar solos on many of his albums. Yet 'Terria' includes solos on five tracks, and Devin proves that he is capable of soloing in different styles that do indeed suit the music. In fact, listening to 'Accelerated Evolution', 'Deconstruction', and Strapping Young Lad's 'The New Black', Devin proves that he has worked very hard to be able to pull off some excellent guitar solos. But again, typical of him, he only employs any of his particular skills when he feels it belongs in a song or instrumental piece.

No early Devin Townsend album would be complete without nature sounds, radio broadcasts, background music, and other sonic decor. We can hear a Chinese radio broadcast at the conclusion of 'Mountain', a French-Canadian radio broadcast at the end of 'Canada' and also in 'Canada', a curious slowed-down recording of the beginning of a story about a bird in a nest. This recording was included at normal speed and in a longer version at the end of the 'Detox' '96 demo, which appeared as a bonus track on the reissue of Strapping Young Lad's 'City'. I have read that this is actually a recording of a story written and read out by a very young Devin Townsend.

There are two additional points to mention about the music here. The first is the curious and for me disappointing conclusion to 'The Fluke'. The song begins almost in a pop punk / 90's radio rock style which veers more into a progressive metal direction. Then the guitar and band abruptly get cancelled and some ambient / experimental keyboard sounds take over for a moment. This gets supplanted by some quick notes that play like a seventies electronic album, and this in turn drops out to be replaced by a low pulsing tone. Static fades in over the low tone and a clean guitar sound over the static brings us to the end and leads us into the next track, 'Nobody's Here'. The other bizarre track is the hidden one at the end, 'Humble' which begins very promisingly with some strummed guitar backed by bass guitar and string synthesizer. It sounds like the makings of a demo, the early framework of a song. The music attempts to move in a new direction, there's a mistake, someone laughs, the recording breaks to silence for a second, and returns. The song is abandoned for another take but then a backwards recording runs on repeat until the end of the track. This lasts for about three minutes, and at one point some water drop sounds come in. Weird.

I gave the Devin Townsend Band's 'Synchestra' five stars and at first I was sure that I would give this album only four, in spite of it being Devin's most highly rated album on PA. However, with each subsequent listen, the album has really grown on me more. I now feel it makes for a very good companion album to 'Synchestra', namely because the albums both sound very earthy to me though different in guitar sound and overall musical approach. Still, they share a commonality in that they both feature some simple heavy music in a progressive vein and some more complex music at times. The vocals cover nearly all of Devin's diverse range of ability and the music styles also spread out. In fact, if these two albums share any direct bond it can be found in a riff in 'Earth Day' which sounds very similar to a riff that surfaces in 'Baby Song' on 'Synchestra'. In style alone, 'Synchestra' makes for a good logical successor to 'Terria' even though there is a five-year gap between the two that is filled with Devin's first ambient / experimental album 'Devlab', the Devin Townsend Band's first album 'Accelerated Evolution', and two Strapping Young Lad albums!

If you are interested in progressive metal that includes traditional metal, hair metal, experimental and post metal, with a bit of aggro-metal thrown in, topped off with a twinge of heavy country on 'Terria' and world music on 'Synchestra' then I recommend buying both of these albums together.

 Wir essen Seelen in der Nacht by GNAW THEIR TONGUES album cover Singles/EPs/Fan Club/Promo, 2014
3.50 | 2 ratings

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Wir essen Seelen in der Nacht
Gnaw Their Tongues Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "Wir essen Seelen in der Nacht" ("We eat souls in the night") is an EP release by Dutch noise/drone/industrial/black metal act Gnaw Their Tongues. The EP was independently released in November 2014 and offered as a "name your price" option on Gnaw Their Tongues Bandcamp profile. As on nearly all other releases by Gnaw Their Tongues, Mories is responsible for all instruments, vocals, artwork, and production. A true one-man army.

Stylistically "Wir essen Seelen in der Nacht" belongs in the more noise/drone oriented part of the project's output, and the 4 tracks on the 18:41 minutes long EP don't feature many metal elements. The eerie haunting atmospheres and the samples of classical instruments are central elements in the sound along with the usual unpleasant noise effects. Some sections of the tracks feature tortured screaming by Mories, but this is mostly an instrumental and overall rather disturbing listen. Mories is incredibly skilled at building terrifying atmospheres designed to send chills down your spine. And he succeeds in doing that on this EP too, but overall the music lacks memorability and climaxes to hold on to, and to my ears Mories has taken the noise/drone aspect of his sound a bit too far on "Wir essen Seelen in der Nacht". It's of course an aquired taste, but personally I prefer the Gnaw Their Tongues releases which feature more metal elements. This simply has a tendency to become a bit tedious.

"Wir essen Seelen in der Nacht" is packed in a professional, detailed, and relatively raw sound production, which suits the music well. Compared to the sound productions on some of the previous releases by the project, the production here isn't nearly as raw sounding. Overall it's another intriguing release by Gnaw Their Tongues although Mories haven't chosen his best material to appear here, but a 3 star (60%) rating is still warranted.

 Scraps of a Feast by TITAN album cover Singles/EPs/Fan Club/Promo, 2010
3.00 | 1 ratings

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Scraps of a Feast
Titan Experimental/Post Metal

Review by thwok

— First review of this album —
3 stars I downloaded this EP a few weeks ago, but I didn't have a chance to listen to it actively until recently. Since Titan's music isn't reviewed on Prog Archives, or its great sister site Metal Music Archives, I figured it was about time someone did. At first, I was going to make the recognized leaders of the sludge and post metal subgenres as my primary point for comparison. Then I decided that was not entirely not fair. Is it fair to compare other psychedelic bands to Pink Floyd, whose early albums were practically start of the subgenre? So, Titan should get credit for taking the basic parameters of sludge and post metal and adding other elements to it. It's one of the definitions of progressiveness. I do hear some slight changes in the overall sound on Scraps of a Feast compared to some of their earlier music. I'm not a musician although I do sing, so I appreciate the skill needed to do what Titan does. Furthermore, I can only imagine how difficult it is to come up with anything musically that hasn't been done before.

In the minus column, James doesn't have a very compelling voice. The three songs here sound a lot like each other. A large part of the music I listen to is inspired by post, sludge, or death/dark metal. If that's the kind of thing I'm wanting to listen to, I'm more likely to turn to Canvas Solaris, Baroness, or Cult of Luna. So, Scraps of a Feast gets no more than 3 stars. Good, but not really excellent.

 Devlab by TOWNSEND, DEVIN album cover Studio Album, 2004
2.23 | 65 ratings

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Devlab
Devin Townsend Experimental/Post Metal

Review by Quirky Turkey

3 stars 'Devlab' is like a hot melt glue gun - it will melt you...

'Devlab' is an instrumental, experimental, ambient venture that was obviously not crafted for an audience, but for Devin's own personal pleasure in experimenting with his new (at the time) audio technology. This is made clear by the fact there's very little 'music' on the album - it's mostly floaty, seemingly aimless soundscapes and collages of noise - not really marketable or accessible. Hence what we get is quite a personal, intimate but completely insane album, a portal into a lesser known side of Devin's creative mind. They call him the 'mad scientist of metal'. Well if there's any album he's made whereby the title of 'mad scientist' is appropriate, it's this one.

The album has a heavy urban and industrial feel with no hints of nature whatsoever (unlike Devin's other ambient works like Hummer or Ghost), and even if there may be acoustic instruments somewhere in the mix, the whole album is the result of much sound manipulation, thus it's quite electronic and atmospheric. Tonally it's cold, dark and confused, but has personality and uniqueness stemming from the naivety of Devin venturing into the unknown. I would imagine he went into this project with little expectation of the end result and implemented an improvisational approach, using his then current state (doing drugs and living in a "sterile, ugly neighborhood") as an inspirational template. What came about is quite interesting.

This is my interpretation of the album: It is a compilation of the thoughts and experiences of a drugged-up man living in a lonely, dingy apartment within a dystopian future cityscape. He attempts to escape this nightmarish reality through drugs and deep sleep but is unsuccessful - the drugs only enhance his feeling of intense loneliness, adding a dazed confusion to the mix as the dull mutterings of the TV fill the emptiness in the background.

This interpretation may sound silly but that's the vibe I gather from it. In fact, Track 10 features soundclips from the science-fiction film 'Twelve Monkeys', a story built around the rise of a dystopian future and the redundant attempt to prevent it.

Beginning with Track 1, we get the sounds of Devin yelling and shrieking hysterically with tacky music in the background. It's utter nonsense and cannot be taken seriously, which is the point. I would assume this song was placed at the beginning to scare off those who expected something accessible and so the album rewards those who can get past it and aren't afraid of the unknown or unconventional.

Afterwards, for the next few songs, it would appear that Devin's process consisted of an (arguably immature) 'anything goes' approach. By this I mean that any sound he came across, anything at all, that sounded remotely interesting would be crammed into his project and manipulated with a ton of cool effects (this includes the sounds of people on TV, which led me to interpret the apartment setting). What's interesting is that this random, adventurous approach has no rules and there are no creative boundaries. But the end result is that all the 'songs' (or parts I suppose) seem to fit on this album cohesively. There is a distinct and unifying tone - the dark, dreamy, futuristic confusion.

However, some tracks do have more direction and accessibility than the meandering tracks, and these reveal themselves after Track 5:

Track 6 is a little musical with a space traveling theme. Track 8 stands out completely from the rest and is one of my favourites, having a pulsing rhythm with quirky sounds and exotic flavours. I would describe this as music that would accompany a (hypothetical) dystopian-future film by Danny Boyle. Track 12 is nice and twinkly, like a beacon of hope shining above underlying darkness. And then there's Track 13, a hypnotic journey managing to include a level of accessibility but retaining the odd atmosphere that characterises the album. The first half is simply breathtaking. And lastly I must give special mention for Track 4 which is a compelling onslaught of atonal distorted noise, a soundtrack for immense destruction. Many will hate this track, but I like it.

The album ends with Devin waking up to an alarm clock and the music ceasing, only to fade back in as if he's drifting back to sleep. He has always seemed to be fascinated by the concept of the relationship between music and dreams, as presented in the story of 'Ziltoid the Omniscient,' and how he's always inspired to record music that comes from his dreams, (like the songs 'Winter' and 'In Ah!'.)

In the end, 'Devlab' is strange and less approachable than Devin's other ambient album 'Hummer'. I however find 'Devlab' to be more interesting and engaging. To me, the album is criminally underrated or at least under-appreciated. Sure it isn't very accessible and there isn't much 'music', ('music' meaning structure, melody, or general cohesion), but credit is due for the effort that went into its creation. For what it is, it succeeds. But this will be a hard album to rate; it's not exactly musical or very listenable, but it's quality stuff for its genre and what it intends to be. So I guess 3.5 stars rounded to 3 is appropriate.

I recommend this to fans of experimental, avant-garde, ambient music, and to those with open minds, possibly in search of something unconventional or challenging. Or if you want to own music that can scare people out of the room and alienate you from your friends, this is perfect.

If you're curious and willing to give it a go, perhaps begin with track 8 or 13. If they don't interest you then move along.

 Devlab by TOWNSEND, DEVIN album cover Studio Album, 2004
2.23 | 65 ratings

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Devlab
Devin Townsend Experimental/Post Metal

Review by aglasshouse

1 stars Devin Townsend is quite an interesting man. I remember, awhile back, listening to his work in the band Strapping Young Lad, and even then I thought the sound the band produced was remarkable. Although not a huge fan of his solo work, the album art and strange album name got me hooked into listening.

Honestly, I couldn't make it through. I also felt like I picked up one of the worst albums I've heard in a long time. Alas, I don't feel like reprimanding the noise genre will get me anywhere, because the last thing I want to do is get people upset. Let's just say I'm not a fan (if that wasn't clear enough already). I've never been a huge supporter of this really odd genre of music that very few people that I've seen like. But this album is not just meaningless loud noises compiled together. No, this album has some actually nice industrial ambient songs.

Some of these tracks that I can't seem to understand are such as 'Devlab I', 'Devlab IV' (a particularly excruciating one), and 'Devlab XI'. Some of the tracks are pretty enjoyable ambient tracks, like the third installment, 'Devlab III', and 'Devlab X' are just a few.

I mean, this album isn't a total waste, but I don't really recommend it to anyone. I can respect the idea behind it, but the album's effect is overall so excruciating that I won't bring myself to tell people to go listen to it. If you are a fan of noise, go right ahead! This album is perfect for you.

I do not recommend this album.

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Experimental/Post Metal bands/artists list

Bands/Artists Country
11 AS IN ADVERSARIES France
19 A.D.D. United States
21 EYES OF RUBY Netherlands
THE 3RD AND THE MORTAL Norway
413 United States
5IVE United States
A((WAKE)) United States
AABSINTHE France
ABANDON Sweden
ABYSSE France
ACROSS TUNDRAS United States
ACYL France
ADMIRAL BROWNING United States
ADRIFT Spain
AFTER MY OWN United States
AGALLOCH United States
AGES GONE Germany
AKPHAEZYA France
AKROMA France
ALASKAN Canada
ALCEST France
ALTAR OF PLAGUES Ireland
AMARA United States
AMBEON Netherlands
AMENRA Belgium
AMESOEURS France
AMIA VENERA LANDSCAPE Italy
ANATHEMA United Kingdom
ANCESTORS United States
AND HARMONY DIES Italy
ANGEL EYES United States
ANTIGUA Y BARBUDA Spain
ANTIMATTER Multi-National
ANUBI Lithuania
APOCALIPSIS Mexico
APOCRYPHAL VOICE Finland
APOKATASTASIA Switzerland
APSE United States
THE ARKITECHT Mexico
ARKTIKA Germany
AS LIGHT DIES Spain
ASIDEFROMADAY France
ASPIRATION Norway
ASTROHENGE United Kingdom
ASTRONAUT DOWN United States
AT THE SOUNDAWN Italy
THE ATLAS MOTH United States
THE ATOMIC BOMB AUDITION United States
ATROX Norway
AUSSITÔT MORT France
THE AXIS OF PERDITION United Kingdom
AZIOLA CRY United States
BACK WHEN United States
BAK Australia
BARONESS United States
BAT CASTLE United States
BATTLE OF MICE United States
BATTLEFIELDS United States
BAUDA Chile
BEAK United States
BEECHER United Kingdom
BEFORE THE EYEWALL United States
BEHIND THE SUN Israel
BEING United States
ADRIAN BENAVIDES United States
BIRUSHANAH Japan
BISON B.C. Canada
BLACK MATH HORSEMAN United States
BLACK SEA Brazil
BLACK SHEEP WALL United States
BLACKWAVES Germany
BLINDEAD Poland
BLOOD & TIME United States
BLUT AUS NORD France
BOBEL Costa Rica
BOSSK United Kingdom
BOTANIST United States
BRIDGES TO DREAMS Canada
BUNKUR Netherlands
BURIED INSIDE Canada
BURN DOWN ROME United Kingdom
CAINA United Kingdom
CALDERA France
CALLISTO Finland
THE CANCER CONSPIRACY United States
CANDIRIA United States
CAPRICORNS United Kingdom
CAPTURE THE SUN United States
CARNIVAL IN COAL France
CARONTTE Spain
CATACOMBE Portugal
CAVE IN United States
CELEBRITY SEX SCANDAL United States
CELESTINE Iceland
CHASE THE SUNSET United Kingdom
THE CHRONICLES OF ISRAFEL Canada
CHRYST Austria
THE CIRCLE ENDS HERE Italy
CIRUELO CILINDRICO Spain
CLERIC United States
CLOUDKICKER United States
COALESCE United States
COLD BODY RADIATION Netherlands
A COLD DEAD BODY Italy
COLDWORLD Germany
COME SLEEP Sweden
COMITY France
CONIFER United States
CONSECRATION Serbia
CORMORANT United States
COSMONAUTS DAY Russia
COUNTERVELA Ireland
CRIB45 Finland
CULT OF LUNA Sweden
D.U.N.E. Italy
DAKRYA Greece
DAMASCUS United States
DARK CASTLE United States
DARK SUNS Germany
DARKESTRAH Germany
DARKSPACE Switzerland
DAUGHTERS OF FISSION United States
DAY WITHOUT DAWN United States
DE OMEGA United States
DEADBIRD United States
DEADSOUL TRIBE United States
DEAFHEAVEN United States
THE DEATH OF HER MONEY United Kingdom
DECORTICA New Zealand
DEEP IN THOUGHT Germany
DETERIOR United States
DEVIL SOLD HIS SOUL United Kingdom
DIESTO United States
DIGRESSION ASSASSINS Sweden
DIRGE France
DISAPPEARER United States
DIVINA ENEMA Belarus
DŘDSVERK Norway
DORNENREICH Austria
DOTZAUER Italy
DR. SLAGGLEBERRY United Kingdom
DRAWN Norway
DREARINESS Italy
DYING SUN United States
EARTH United States
EAST OF THE WALL United States
EBONY LAKE United Kingdom
ECHOES United Kingdom
ECHOES OF YUL Poland
ECHOSILENCE Estonia
EGOIST Poland
EHNAHRE United States
EIGHT BELLS United States
EINNA France
ELLIPSIS France
EMPIRES United States
EMPTY YARD EXPERIMENT United Arab Emirates
ENDER New Zealand
ENDNAME Russia
EPHEL DUATH Italy
EPISTASIS United States
ETERNAL DEFORMITY Poland
ETHERSENS France
EVIL INSIDE Spain
EX CURIA Australia
EXOTIC ANIMAL PETTING ZOO United States
EXTINCTION ALGORITHM Romania
FALL OF EFRAFA United Kingdom
FALLOCH United Kingdom
FALLS OF RAUROS United States
FEN United Kingdom
FLEURETY Norway
FLOOD THE DESERT United States
FOLLOW THE WHITE RABBIT Russia
A FOREST OF STARS United Kingdom
FORMLOFF Norway
FOUNTAINHEAD Germany
FROM OCEANS TO AUTUMN United States
FUTURIAN Canada
THE GABRIEL CONSTRUCT United States
GANON United States
GARDEN OF SHADOWS United States
GARY SUICIDAL KIDS COMMANDO France
THE GATHERING Netherlands
GENERATION OF VIPERS United States
GENGHIS TRON United States
GIANT SQUID United States
GIGANTIC BRAIN United States
GIRE Hungary
GNAW THEIR TONGUES Netherlands
GODSEND Norway
GONIN-ISH Japan
GORDIAN KNOT United States
GOSPEL United States
THE GRASSHOPPER LIES HEAVY United States
GRAVITON United States
GRAYCEON United States
THE GREAT OLD ONES France
GREEN CARNATION Norway
HAIKU FUNERAL Multi-National
HAIL SPIRIT NOIR Greece
HALCYON Australia
HAMMERS OF MISFORTUNE United States
HAND United Kingdom
HARVEY MILK United States
HEIRS Australia
HELLAS MOUNDS United States
HERETOIR Germany
HIPOSPADIA Spain
HUMANFLY United Kingdom
HYDRA Mexico
HYPNO5E France
IDENTIFIED United States
IDIOT SAINT CRAZY France
THE ILLNESS United States
IN THE WOODS... Norway
IN.OVO Canada
INCOMING CEREBRAL OVERDRIVE Italy
INDUKTI Poland
INTER ARMA United States
INTRONAUT United States
IO United Kingdom
IREPRESS United States
IRONWOOD Australia
IRREVERSIBLE United States
ISIS United States
ISTHMUS United States
IZAH Netherlands
JAKEL Canada
JANVS Italy
JESU United Kingdom
JEWY SABATAY Serbia
OLIVER KAAH Finland
KAILASH Italy
KALKI AVATARA Italy
KARABOUDJAN Sweden
KEELHAUL United States
KEKAL Indonesia
KHANATE United States
KHEMEĎA France
KHOMA Sweden
KHUDA United Kingdom
KICK THE BUTTERFLY Australia
KINGDOM Belgium
KLABAUTAMANN Germany
KOLLWITZ Norway
KONG Netherlands
KONGH Sweden
KOSMOGRAD Canada
KRAKOW Norway
KRUGER Switzerland
KYLESA United States
LANDFORGE United Kingdom
LANTLOS Germany
LATITUDES United Kingdom
LEFT BRAIN United States
LENTO Italy
LESBIAN United States
LIGHT BEARER United Kingdom
LITHIUM DAWN United States
LÖBO Portugal
LOOK TO WINDWARD New Zealand
LORUS 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
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
MONDRIAN OAK Italy
MONUMENTUM Italy
MORAINES Croatia
MORNE United States
THE MORNINGSIDE Russia
MORTIFERIA Norway
MOSE GIGANTICUS United States
MOSKAU Germany
MOUNTAINS BECAME MACHINES United Kingdom
MOUTH OF THE ARCHITECT United States
MUTYUMU Japan
MY SILENT WAKE United Kingdom
MYSTER MOBIUS Multi-National
MYSTIC Netherlands
NAHEMAH Spain
NAHRAYAN Spain
NANDA DEVI United States
NATIONAL SUNDAY LAW United States
NAUTICUS Finland
NEBRA Switzerland
NERO DI MARTE Italy
NEUMA Poland
NEUROSIS United States
NIHIL Serbia
NINTH MOON BLACK United States
NO MADE SENSE United Kingdom
NOCTIS Australia
NOEKK Germany
NORTH United States
NOVEMBRE Italy
NUCLEUS TORN Switzerland
OBSIDIAN KINGDOM Spain
THE OCEAN DOESN'T WANT ME South Africa
THE OCEAN Germany
OCOAI United States
THE OLD DEAD TREE France
OLD MAN GLOOM United States
OMB Israel
THE OMEGA EXPERIMENT United States
OMEGA MASSIF Germany
ORANSSI PAZUZU Finland
ORDO DRACONIS Netherlands
ŘRKENKJŘTT Norway
ORPHANED LAND Israel
ORTHODOX Spain
OSI United States
OSTROVA Spain
THE OTHER SIDE OF THE SKY United States
OUTOPSYA Italy
OVERMARS France
PAN.THY.MONIUM Sweden
PANOPTICON United States
THE PAX CECILIA United States
PECCATUM Norway
PELICAN United States
PET SLIMMERS OF THE YEAR United Kingdom
PIKE Sweden
PINKLY SMOOTH United States
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