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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

4.23 | 629 ratings
PART THE SECOND
Maudlin Of The Well
4.22 | 1273 ratings
LATERALUS
Tool
4.22 | 581 ratings
TERRIA
Townsend, Devin
4.33 | 106 ratings
IMAGINARY SONICSCAPE
Sigh
4.27 | 156 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.19 | 518 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.16 | 622 ratings
JUDGEMENT
Anathema
4.19 | 282 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.18 | 247 ratings
IN A FLESH AQUARIUM
Unexpect
4.54 | 37 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.17 | 251 ratings
BATH
Maudlin Of The Well
4.16 | 325 ratings
THE MANTLE
Agalloch
4.14 | 303 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.60 | 29 ratings
FEA JUR
Lye By Mistake
4.19 | 131 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult of Luna
4.09 | 768 ratings
ÆNIMA
Tool
4.11 | 298 ratings
FABLES OF THE SLEEPLESS EMPIRE
Unexpect
4.08 | 544 ratings
ALTERNATIVE 4
Anathema
4.29 | 62 ratings
SOULS AT ZERO
Neurosis
4.11 | 226 ratings
PANOPTICON
Isis
4.09 | 296 ratings
MABOOL - THE STORY OF THE THREE SONS OF SEVEN
Orphaned Land
4.08 | 316 ratings
THE DEVIN TOWNSEND BAND: SYNCHESTRA
Townsend, Devin
4.05 | 807 ratings
WE'RE HERE BECAUSE WE'RE HERE
Anathema
4.15 | 106 ratings
THE PAINTER'S PALETTE
Ephel Duath
4.14 | 114 ratings
SOL NIGER WITHIN
Thordendal's Special Defects, Fredrik
4.18 | 81 ratings
SUSPENDED ANIMATION DREAMS
Subterranean Masquerade
4.06 | 235 ratings
S.U.S.A.R.
Indukti
4.52 | 25 ratings
TűNő IDő TÁRLAT
Thy Catafalque
4.08 | 174 ratings
OCEANIC
Isis
4.04 | 267 ratings
ÉCAILLES DE LUNE
Alcest
4.01 | 809 ratings
WEATHER SYSTEMS
Anathema
4.06 | 185 ratings
WAVERING RADIANT
Isis
4.21 | 56 ratings
WRITTEN IN WATERS
Ved Buens Ende
4.09 | 110 ratings
OMNIO
In The Woods...
4.01 | 248 ratings
OFFICE OF STRATEGIC INFLUENCE
OSI
4.00 | 296 ratings
DEVIN TOWNSEND PROJECT: EPICLOUD
Townsend, Devin
4.31 | 33 ratings
A SHADOWPLAY FOR YESTERDAYS
Forest Of Stars, A
4.20 | 48 ratings
THE MALEDICTION FIELDS
Fen
3.99 | 272 ratings
OCEAN MACHINE - BIOMECH
Townsend, Devin
4.57 | 18 ratings
MYSTER MÖBIUS
Myster Mobius
4.03 | 116 ratings
IF_THEN_ELSE
Gathering, The
4.07 | 76 ratings
PREHISTORICISMS
Intronaut
4.70 | 14 ratings
MELANCHOLIE²
ColdWorld
3.95 | 379 ratings
DEVIN TOWNSEND PROJECT: DECONSTRUCTION
Townsend, Devin
4.29 | 29 ratings
THE GALILEAN SATELLITES
Rosetta
4.30 | 28 ratings
MANTIIS
Obsidian Kingdom
3.99 | 135 ratings
EPOCH
Fen
4.77 | 12 ratings
ELIL
Fall of Efrafa
4.26 | 29 ratings
OPPORTUNISTIC THIEVES OF SPRING
Forest Of Stars, A
3.95 | 209 ratings
THE DEVIN TOWNSEND BAND: ACCELERATED EVOLUTION
Townsend, Devin
4.03 | 79 ratings
LEAVING EDEN
Antimatter
3.97 | 130 ratings
NIGHTTIME BIRDS
Gathering, The
4.19 | 33 ratings
UNDERSTANDING CONSEQUENCES
Day Without Dawn
4.30 | 24 ratings
THE LOCUST YEARS
Hammers of Misfortune
4.02 | 74 ratings
A SUN THAT NEVER SETS
Neurosis
3.97 | 103 ratings
VERTIKAL
Cult of Luna
4.04 | 57 ratings
TEETHED GLORY AND INJURY
Altar of Plagues
4.35 | 20 ratings
ABSOLUTE ZERO
Tetrafusion
4.12 | 39 ratings
PAINTING ON GLASS
3rd And The Mortal, The
4.79 | 10 ratings
KENTUCKY
Panopticon
4.07 | 43 ratings
RENGETEG
Thy Catafalque
4.50 | 14 ratings
TERRAFORMING
Postman Syndrome, The
3.97 | 75 ratings
PRECAMBRIAN
Ocean, The
3.98 | 70 ratings
OI MAGOI
Hail Spirit Noir
3.91 | 149 ratings
HOW TO MEASURE A PLANET?
Gathering, The
4.10 | 36 ratings
SEA OF THE DYING DHOW
shels
3.91 | 146 ratings
GORDIAN KNOT
Gordian Knot
3.88 | 312 ratings
DEVIN TOWNSEND PROJECT: GHOST
Townsend, Devin
3.88 | 266 ratings
THE NEVER ENDING WAY OF ORWARRIOR
Orphaned Land
3.93 | 108 ratings
PELAGIAL
Ocean, The
3.92 | 123 ratings
SOUVENIRS D'UN AUTRE MONDE
Alcest
3.90 | 184 ratings
MARROW OF THE SPIRIT
Agalloch
4.58 | 12 ratings
VÄRÄHTELIJÄ
Oranssi Pazuzu
4.05 | 43 ratings
PLAINS OF THE PURPLE BUFFALO
shels
4.03 | 45 ratings
HEART OF THE AGES
In The Woods...
4.05 | 41 ratings
EVE
Ufomammut
3.86 | 496 ratings
A NATURAL DISASTER
Anathema
4.23 | 22 ratings
TOUNDRA III
Toundra
4.11 | 31 ratings
SELENELION
Vaura
4.79 | 9 ratings
BAR-DO TRAVEL
Proghma-C
4.00 | 52 ratings
THE BEES MADE HONEY IN THE LION'S SKULL
Earth
4.40 | 15 ratings
DEAD AS DREAMS
Weakling
4.88 | 8 ratings
ACID MIST TOMORROW
Hypno5e
3.94 | 76 ratings
THE EYE OF EVERY STORM
Neurosis
3.95 | 73 ratings
ANTHROPOCENTRIC
Ocean, The
3.86 | 297 ratings
DEVIN TOWNSEND PROJECT: ADDICTED
Townsend, Devin
4.14 | 26 ratings
CARHEART
Virus
4.26 | 19 ratings
NOIR
Callisto
3.84 | 785 ratings
10,000 DAYS
Tool
3.88 | 160 ratings
MANDYLION
Gathering, The
3.98 | 53 ratings
THE IMAGINARY DIRECTION OF TIME
Winds
4.24 | 19 ratings
CENOTES
Giant Squid
3.87 | 155 ratings
CASUALTIES OF COOL: CASUALTIES OF COOL
Townsend, Devin
3.84 | 436 ratings
A FINE DAY TO EXIT
Anathema
4.09 | 29 ratings
SPIRAL SHADOW
Kylesa
3.87 | 132 ratings
THE ACOUSTIC VERSES
Green Carnation
3.90 | 90 ratings
THE FIRE IN OUR THROATS WILL BECKON THE THAW
Pelican
4.20 | 20 ratings
AFFLICTION XXIX II MXMVI
Blindead
4.20 | 20 ratings
THE RITUAL FIRES OF ABANDONMENT
Minsk
3.84 | 287 ratings
DEVIN TOWNSEND PROJECT: KI
Townsend, Devin

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

TWILIGHT RITUAL
Deadbird
IRLYA - IL Y A -
Mutyumu
SAMUS OCTOLOGY
Irepress
HEART OF THE AGES
In The Woods...

Latest Experimental/Post Metal Music Reviews


 Cult Of Luna & Julie Christmas: Mariner by CULT OF LUNA album cover Studio Album, 2016
3.91 | 27 ratings

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Cult Of Luna & Julie Christmas: Mariner
Cult of Luna Experimental/Post Metal

Review by Rune2000
Special Collaborator Prog Metal Team

4 stars I've been a fan of Cult of Luna since 2013 when I saw them live here in Stockholm. The energy in their live shows is off the wall and I can highly recommend the band as a live act. A few years and a couple of live shows later I'm still quite fascinated by the band's amazing live antics but I've so far felt that their live energy has never been able to translate to their records. Fortunately for me, Cult of Luna finally made that transition with the release of Mariner.

2016 saw the band doing a unique collaboration with the New York-based vocalist Julie Christmas and this is something that the band have been interested in for some time. Luckily, both parties found the needed time and recorded Mariner over the course of about a year. I have to say that this is not the most obvious combination of artists put on paper but hearing the final product really puts it all in perceptive and sets all the components in the right place. Hearing Johannes Persson mixing his brutal vocal delivery with the unique voice of Julie Christmas is magical and completely re-arranges the otherwise very bleak and harsh style that the band have been going for throughout the years.

The album consists of five compositions all clocking over 8 minutes with the final track Cygnus being almost 15 minutes long. So there is definitely enough time to broad out the scope of each work, but with the flip-side of making some of the compositions a bit longer than they need to be. I personally prefer the three relatively shorter tracks with A Greater Call being the most memorable of the bunch while The Wreck Of S.S. Needle is the most intense one. I really like the structure of the latter track which lets Julie Christmas to really flesh out her vocal range, especially towards the end of the composition.

The two longer tracks are pretty good but I feel that both of them overstay their welcome by quite a few minutes. Approaching Transition is a meditative track that isn't really going anywhere and therefore could have easily been cut short by a few minutes. The closing Cygnus has some of the album's best moments but I feel that they're too far between and thus don't create the landmark that the track otherwise might have become.

If you still haven't been hooked by Cult of Luna then definitely give Mariner a shot! I think that this record really deserves more attention and it has the capacity of bringing a completely new fan base to the band and their unique take on the post-metal sub-genre.

***** star songs: A Greater Call (8:19) The Wreck Of S.S. Needle (9:33)

**** star songs: Chevron (8:53) Cygnus (14:50)

*** star songs: Approaching Transition (12:59)

 Pale Folklore by AGALLOCH album cover Studio Album, 1998
3.73 | 140 ratings

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Pale Folklore
Agalloch Experimental/Post Metal

Review by Warthur
Prog Reviewer

4 stars Agalloch's debut album sets out the stall for what the band would offer for much of their subsequent career: an intricate mixture of influences from atmospheric black metal, post-rock, folk metal, and just plain traditional folk, combined into an intriguing mixture. One of the things which keep Agalloch interesting as a group is that whilst most of those ingredients are present to one extent or another on most of their albums, at the same time the centre of gravity shifts about, making each album a distinct and different proposition. Pale Folklore, for its part, seems to me to be centred in a deliciously accessible brand of folky metal which gives way to darker currents as the album progresses, and is a worthy part of the group's musical progression.
 Fate Of A Dreamer by AMBEON album cover Studio Album, 2001
3.23 | 83 ratings

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Fate Of A Dreamer
Ambeon Experimental/Post Metal

Review by VianaProghead

4 stars Review Nº 91

Ambeon is a Dutch progressive project metal act of the multi-instrumentalist and composer Arjen Anthony Lucassen of Ayreon. It's a ten track collaboration with an only 14 year old Dutch singer Astrid Van Der Veen whose debut album "Beautiful Red" drew his attention during 2000. This led to their acoustic recording of "Temple Of The Cat" and the sneak preview of the track "Cold Metal" released for the first time on for his compilation album "Ayreonauts Only". "Cold Metal" would also be released as a single.

So, "Fate Of A Dreamer" is the debut and only album of Ambeon, until now, and was released in 2001. Originally it was conceived as an ambient remix of Ayreon's instrumentals and Ambeon's "Fate Of A Dreamer" blends electronic patterns, chords and melodies derived from existing songs with Astrid's crystalline vocal arrangements. The name Ambeon is a play on the words "Ambient" and "Ayreon". As the music, without vocals, is based on previous Ayreon's songs, it could be said this act is an "Ambient/Ayreon" album. Ambeon can be said to be progressive metal with elements of dark ambient music. In the process of the recording of the album some new songs evolved Ambeon, and Arjen figured female vocals on one or two songs would add a more warm human touch to his new musical project.

Despite Ambeon be labelled as a project of Arjen and Astrid, Lucassen decided to involve also several musicians who could bring in their own ideas, something new, just like Astrid did. Two further musicians provide a solid rhythm section for the album. Walter Latupeirassa of Snowy White's White Flames band and also of Steve Lukather and Pat Travers, who play bass and fretless bass and Stephen Van Haestregt is heard on drums and percussion. John and Pat McManus of Celtus add folky atmosphere on flute and pipes, and fiddle, respectively. And as usual in many occasions, Erik Norlander is around for some synthesizer working and Eric's wife Lana Lane provides some backing vocals too.

While each track on "Fate Of A Dreamer" stands alone perfectly well, the album works equally well as a cohesive whole with lyrics and sounds on the ten selections that comprise "Fate Of A Dreamer" flowing wonderfully from one to the next. The Ambeon's music builds on the Ayreon's sound with the material blending atmospheric, celtic, electronic, gothic, metal and progressive styles. Arjen plays guitars and keyboards, he wrote the music, produced and mixed the album. Astrid sings the lead and backing vocals and she also wrote the storyline of the concept, melodies and lyrics.

This particular album focuses more on creating a pleasant ambient soundscape and is equipped with a dash of heavy metal. There are some really nice grooves created by the drummer and the bassist on "Fate Of A Dreamer", which are definitely one of the stronger points of this album. The guitars are more of an accent than a prominent element within the music. This is rather unusual for Arjen seeing as how he loves shredding on both guitar and the keyboard, which he is really great, on most of his musical projects. The metal aspect of this album is really a treat because it breaks the stereotype of all metal being this loud, nonsensical noise and proves it can be crafted into a really relaxing and fulfilling entity, as far as music as a whole is concerned. This is really a very nice thing on the album.

The last but not the least important thing about the album is that it was out of print for years, due to the closing of the Dutch music label. It was re-released in 2011 with bonus tracks, and an accompanying acoustic CD covering various Ambeon and Ayreon tracks. As Arjen said, in 2001 it was asked to him to do an acoustic show with his Ambeon project in Italy. Besides Astrid, Arjen invited two other girls, Ewa Albering on flute and Dewi Kerstens on cello. The four recorded a combination of Ayreon and Ambeon tracks, 16 in total, in his studio. Unfortunately, the gig never took place. When he was approached for the re-release of the album, Arjen remembered those rehearsal recordings. Due to its high quality, Lucassen decided to share them with his fans and re-released it as a double working with a CD bonus.

Conclusion: "Fate Of A Dreamer" is a beautiful album. It's an interesting project that Lucassen has put here on their feet. It lives by an impressive and outstanding voice, especially because we are talking about a 14 year old girl. It's fun to listen to the voice of Astrid. The young lady should definitely keep our attention. The album draws its effect from the successful fusion of catchy melodies, spherical keyboard carpets and hard guitar riffs. While listening to this album you can't expect a single shred of aggression because you won't find any. If you do want some simple and emotional music put this on. This is one of the best atmospheric albums I own. The Ambeons' "Fate Of Dreamer" is a breath of fresh air within the progressive scene. "Fate Of A dreamer" is an album that will satisfy atmospheric music's fans but it will surprise all prog heads in general and, of course, Ayreon's fans. Give it a listen and enjoy it because it deserves.

Prog is my Ferrari. Jem Godfrey (Frost*)

 The Piper at the Gates of Stone by SPACEKING album cover Studio Album, 2016
3.65 | 6 ratings

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The Piper at the Gates of Stone
Spaceking Experimental/Post Metal

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

3 stars This band from Russia has great sound. Bass, drums, guitars each fill the soundscape perfectly. As a matter of fact, were I to put together my own instrumental Prog Metal band, these are sounds, both individually and collectively, to which I would aspire. Also, the sound engineering and production here is flawless--I can actually hear all of the instruments even though the music present the stereotypic "walls of sound" that is common among heavy/metal music.

1. "Ruins" (5:58) a great opener of nice variety, layering, and melody showing great promise for this instrumental band of heavy rock. (7.5/10)

2. "Metamorph" (7:49) Starts out a little slowly, a little too RUSH-like, repetitiously, but then gets interesting with LED ZEPPELIN riffs and keyboards in the second half. (8.5/10)

3. "Silent Widow" (5:51) seems to get stuck in the opening riff for all of its six minutes. (6/10)

4. "44" (4:18) Where's the variation, where's the development? (7/10)

5. "Dwarf" (5:02) something different! An atmospheric opening! And there is more variation and development than the previous two songs--and it doesn't sound so much like somebody else (as far as I know). By far my favorite song on the album--because it sounds original! (9/10)

6. "The Piper At The Gates Of Stone" (6:06) a little bit of world music instrumentation in the opening! Yay! Develops into a little cross between IHNSAHN and U2. (8/10)

7. "Collapse" (7:01) a slightly milder, slower start helps me gain access to this song. The melody line and sound remind me a lot of Irish Post Rock band GOD IS AN ASTRONAUT. The problem is that there is not enough dynamic variation or sonic development, just riffing at pretty much one tempo. As in the opener, great electric guitar sound during its soloing. (8/10)

These instrumentalists have certainly done their homework, they have certainly learned and mastered the riffs and sounds of the Masters of Metal. My problem is that most of the songs and their component parts sound as if they came straight our of someone else's "greatest hits"--as if the instrumentalists and collective here are trying to string together songs or parts of songs built from the great riffs of all-time--other people's riffs. Rush, Led Zeppelin, Megadeth, Metallica, and probably a number of other bands whose "classic" hits and riffs I do not know because I've never been much of a collector of metal music. If this band with its great sound and incredible engineering and production ever chooses to create its own music--as it does in the fifth song here, "Dwarf" and the intro of "Silent Widow"--then we may have something truly worth shouting about. Until then, this is, to my ears, a great sounding album of mostly regurgitated classic heavy metal music.

 Path Of Eight by MOUTH OF THE ARCHITECT album cover Studio Album, 2016
4.00 | 2 ratings

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Path Of Eight
Mouth of the Architect Experimental/Post Metal

Review by DamoXt7942
Forum & Site Admin Group RIO/Avant/Zeuhl & Neo Teams

4 stars Honest to say, this album "Path Of Eight" is my first MOUTH OF THE ARCHITECT, which sleeve of mysticism I've pretty got immersed in and could not avoid preordering. And their first hit for me was massive and aggressive. "Ritual Bell" drenched in surrealistic wall of sound and flooded with religious rite of MotA baptism completely leads the audience upon the rigid road of architectures each of which has different vibe from others amazingly, below mentioned.

Their deep, heavy, and intensive stoner sound-world sounds leaning toward the Seattle-oriented grunge scene like the early Pearl Jam ("The priestess" reminds me of Pearl Jam's debut album "ten" actually) or Alice In Chains (e.g. complicatedly moving waves can be heard in "Fever Dream", one of my faves really) ... because they might hail from US I imagine? And not only grunge-ish atmosphere but also colourful sound variation they have launched upon this physical stuff (both the disc and the sleeve).

"Sever The Soul" has obvious hard deathcore touch beneath the melodic sea. On the other hand, wild and depressive alternative depth / width can be enjoyed in "Stretching Out". The last titled track is filled with acidity and stoner essence as though it were not already enough. In addition, such a deep metallic kaleidoscope should be tinged with unpolished unclear pop taste here and there.

Their soundscape should apparently be far from Zeni Geva classified in the same subgenre like them, although I'm not familiar with Exp. / Post Metal. Certainly I cannot say at all I wasted my money upon this wonderful album.

 Memento Collider by VIRUS album cover Studio Album, 2016
3.96 | 7 ratings

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Memento Collider
Virus Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Memento Collider" is the 4th full-length studio album by Norwegian avant garde rock/metal act Virus. The album was released through Karisma Records in June 2016. There's been one lineup change since the release of "The Agent That Shapes the Desert (2011)", as original bassist Petter "Plenum" Berntsen has returned to the fold, restoring the original three-piece lineup from the band's debut full-length studio album "Carheart (2003)". Berntsen was out of the band from 2010 to 2014. The remaining members of the lineup are Carl-Michael "Czral" Eide (guitars and vocals) and Einar "Einz" Sjurs' (drums). While five years between albums is a pretty long time, Virus did release the "Oblivion Clock" compilation in 2012.

Stylistically the long time between albums haven't affected the band's vision and sound too much. We're still treated to dark and atmospheric, surreal, and twisted avant garde rock/metal. Dissonant open chords, semi-jazzy organic drumming and a heavy bass, and on top the odd and deranged vocals by Carl-Michael "Czral" Eide. While I do write rock/metal above, there are actually very few metal traits in the music, so it's more in spirit that Virus are connected to the metal scene.

"Memento Collider" features a powerful and organic sounding production, which suits the music perfectly. The material on the 6 track, 45:07 minutes long album is well written, adventurous, and intriguing. Virus have a very unique sound, but as always they've made little tweaks here and there, which ensure that "Memento Collider" stands out in their discography. The tracks are generally pretty long ("Afield" and "Phantom Oil Slick" are both around 9 to 10 minutes long), but they never become too drawn out, despite their often hypnotic repetitive nature. There's a dark organic drive to the compositions which provides them with great energy although the tempo is mostly slow- to mid-paced.

The haunted monotone vocals and abstract gloomy lyrical content contribute greatly to the bleak atmosphere, but the instrumental part of the music is not exactly in the light department either. There are other moods in the music than pitch black darkness though. The occasional nod towards some sort of twisted surf music and what I'd characterize as spy movie soundtrack tendencies on "Gravity Seeker" are examples of that. The percussion on "Phantom Oil Slick" is also a nice touch, which provides that track with a deranged tribal element. It's not showed down your throat though, because Virus are clever enough to incorporate those elements in a relatively subtle manner, which go along well with their core style.

So upon conclusion this is another high quality release by Virus and fans of the band can safely spend their hard earned money on this one. It's delightfully familiar without sounding too derivative of past releases, which of course also means that "Memento Collider" probably won't win over listeners who didn't enjoy the band's other releases. I'm sure Virus can live with that though, as they pretty surely don't play this type of music for commercial reasons (although we all need bread on the table). There's no mistaking the fact that this is a band who creates exactly this type of music for pure artistic reasons, and while some may find such an elitist attitude towards creating art ridiculous, I think it's great to experience that there are still artists out there trying to break down the boundaries of convention without the thought of anything else but creating unique sounding music. A 4 - 4.5 star (85%) rating is deserved.

 Fables Of The Sleepless Empire by UNEXPECT album cover Studio Album, 2011
4.11 | 298 ratings

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Fables Of The Sleepless Empire
Unexpect Experimental/Post Metal

Review by Prog Leviathan
Prog Reviewer

5 stars Fables of the Sleepless Empire is a chaotic, beautiful, exuberant, and memorable demonstration of what creative metal music really sounds like. After a five-year hiatus, Unexpect erupts back to life, producing an album that's every bit as good as its shockingly excellent predecessor.

If you missed the second Unexpect album (In the Flesh Aquarium), Fables probably slipped under your radar, too. After all, Unexpect doesn't have nearly the reach of other groups in the prog-metal vanguard; however, if you have any desire to hear the true sound of musical mastery within the genre... do yourself a favor and check out this release right away.

Fables is an hour of gorgeous pandemonium. Songs are packed with twists and turns, juggling the intense combination of sounds with ease. Time signatures, tempo, and tonal changes abound. It's metal music, undeniably, but Unexpect is also very playful. The result isn't the sort of melodic riffing you'd expect, but instead a gymnastic combination of sounds that makes the experience unique. The musicianship is at a level that really makes the group difficult to compare... because much of what they're doing is so much more ambitious than "normal" metal.

Vocals are handled by a combination of singers, usually simultaneously. Feminine vocals take the "lead," which is a very relative thing to say. I guess she's the lead because she's one of the few things the listener can grab hold of as being "normal." Other vocals are a combination of highly characterized impish growling, sarcastic crooning or robotic recitation. Trust me... it makes sense when you're listening.

Fables is noise, a lot of noise, but achieves the rare accomplishment of being able to beat the listener senseless while keeping their attention and leaving them wanting more. If you enjoy metal music, this is practically a mandatory purchase. You'll not have experienced anything quite like it, at least not at this level of metal/creativity/poetry. Avant- garde group's like Mr.Bungle may draw some comparisons, but I think these are a stretch. Fables of the Sleepless Empire takes you places few other groups can.

Songwriting: 5 - Instrumental Performances: 5 - Lyrics/Vocals: 5 - Style/Emotion/Replay: 5

 Lateralus by TOOL album cover Studio Album, 2001
4.22 | 1273 ratings

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Lateralus
Tool Experimental/Post Metal

Review by Scorpius

2 stars Before we get into the meat of my review, I would like to explain my 2 star rating. I am very open to listening to new types of music, and for me, progressive metal was a new journey. I figured I would start from what is considered the best in the prog metal genre. After listening to this album with an open mind, I've come to a conclusion: either I'm more biased against metal than I think, or I just don't hear something in this album that most everyone else seems to. Here is my actual review.

The Grudge: 5/10 A decent opener, didn't really peak, but was fun and decent to listen to. Sets the mood for the rest of the album. It does what an opening track is supposed to, nothing more, nothing less. If it had done a little bit more to not be repetitious, I would give it a higher rating.

Eon Blue Apocalypse: 3/10 A fine transition, but why? The album didn't gain anything from it being on the album. It's a decent track, but it just seems like pointless filler to me.

The Patient: 4.3/10 A solid track that should have been an instrumental. Let me get this straight; I absolutely despise the vocals for this album. The auto tune is very strong with this album, and this band in general, it seems. If this track had been an instrumental, I might have actually enjoyed it.

Mantra: 7/10 The only good transition on this album, and a great setup for Schism.

Schism: 9/10 This track (and the title track) are the only reasons I gave this album as high a rating as I did. This is one of the only tracks on the album that, for me, made me want to listen to even more of the album. My brain always feels absolutely numb afterwards. This song is genius (along with title track), but 2 rights compared to 10 wrongs (in my opinion) really doesn't do much for the album.

Parabol(a): 4/10 I'm gonna combine my review for these 2 tracks into one giant review. Which is exactly what the band should have done when they made these tracks. I understand that its cool to have a calm song before a heavy song and that the songs have a name similarity, but its such an overused prog cliche. Not to mention the songs just seem bland and generic.

Ticks and Leeches: 4.7/10 The only reason this song got even a 4.7 is the drumming. The vocals are [&*!#], and the song is repetitious (again). Thats probably my biggest problem with this album: it just seems like pointless repetition to me. Coming from a hardcore King Crimson fan, that should tell you something. 70's hardcore edgy Crimson is my favorite generation of the band, but this prog metal band seems pointless and repetitious. it tries too hard to be hardcore, and again, I despise the vocals.

Lateralus: 9/10 Like I mentioned while I was discussing Schism, this track and that ones are the only reason I gave this album as high a rating I did. its just an enjoyable track. Nothing else to say about it.

Disposition: 4.5/10 A "meh" transition track. Nice bassline, but goes absolutely nowhere.

Reflection: 3/10 A continuation of Disposition, it follows a similar pathway, and takes f*cking forever to climax. I love long songs, (Echoes by Pink Floyd is my favorite song ever), but just because its a long song doesn't mean it has to take forever to climax. I'll compare this to Pigs (Three Different Ones) by Pink Floyd because they have a similar song length. That song has amazing vocals and sends a political message. It also features about 3 guitar solos, one of which uses a talkbox (type of wah pedal). Reflection just seems pointless. Its got a slow (11 minute) build-up, horrid, auto-tuned vocals, and for what? A guitar solo at the end. There are many, many prog songs that follow the same trope and ace it. This track, however, did not.

Triad: 2/10 Another instrumental, (I almost forgot the band did instrumentals, as its been 7 tracks since we've seen one), it features some heavy riffing and then 2:10 minutes of silence. Absolute silence. Absolute. F*cking. Silence. I don't know if this is what some people consider "genius", but I sure don't.

Faaip de Oiad: 0/10 This album has a theme for pointless nonsense. This is exactly that. Just end the goddamn album already.

Thank you for reading my review (or rant, depending on your point of view). I apologize if I angered or offended anyone in my review. Please just remember that you are reading a review that someone you don't know personally wrote about an album he doesn't like. We cool? Cool.

 Salvation by PROPHECY, THE album cover Studio Album, 2013
3.76 | 14 ratings

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Salvation
The Prophecy Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

4 stars "Salvation" is the 4th full-length studio album by UK, Halifax, Yorkshire based doom metal act The Prophecy. The album was released through code666 in January 2013. The Prophecy were formed in 1999 and have since the release of their debut full-length studio album "Ashes (2003)" steadily developed their brand of doom metal and increased their fanbase along the way. The lineup hasn´t changed since "Into the Light (2009)", which is a bit of an anomaly when it comes to The Prophecy, which is a band that has been mared by constant lineup changes in especially their formative years.

The music on "Salvation" is at it´s core atmospheric doom metal, but the band skillfully incorporate elements from doom/death metal and progressive metal too. The doom/death element on the album consists of occasional growling vocals. The growling vocals are not a dominant feature in the music though and most vocals on the album are clean sung. The 5 tracks on the 49:25 minutes long album are predominanly slow building (and for the most part around 10 minutes long) and dynamic tracks featuring both mellow melancholic sections and more majestic heavy parts. Sometimes I´m reminded of a heavier version of contemporary Anathema, sometimes a Dead Can Dance influence creeps in and after listening to the album and digging into the music a bit deeper, I´ve also encountered a pretty obvious Fates Warning influence.

The musicianship are on a high level and while lead vocalist Matt Lawson isn´t the most distinct sounding vocalist out there, he is actually pretty skilled and his delivery suits the music well. Personally I could have done without the growling vocals, which are pretty anonymous, but they appear relatively seldom (they are most dominant in the closing track "Redemption"), so it´s not a major issue. "Salvation" features a professional, clear, and powerful sounding production too (although the distorted guitar tone could have been slightly more powerful) and all in all the album is a high quality release on all parameters. A 4 star (80%) rating is deserved.

 Devin Townsend Project: Transcendence by TOWNSEND, DEVIN album cover Studio Album, 2016
3.70 | 68 ratings

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Devin Townsend Project: Transcendence
Devin Townsend Experimental/Post Metal

Review by FragileKings
Prog Reviewer

3 stars "Transcendence" is the seventh installment in the Devin Townsend Project discography and was released earlier this month. After a highly prolific release period from 2009 to 2014, which included the original four DTP albums, a live album, a box set of the four albums and live album and two discs of bonus material, a fifth DTP album "Epicloud", the Casualties of Cool album that had a special edition with an extra disc of bonus material, and the double album of DTP's "Sky Blue" and the Ziltoid sequel "Zed Squared", Devin Townsend prepared for a live performance of Ziltoid at the Albert Hall and then took a much-needed rest. On his web site he wrote that he had several ideas brewing for new albums including a project where he would play only bass guitar and another project that would include an Icelandic choir among other things. No matter what was to come, no one could be sure exactly what the Mad Man of Metal was going to do next, especially after surprise albums like "Ki", "Ghost" and "Casualties of Cool" which were so different from his more established, very loud wall of sound, aggressive pop metal approach.

At first I was a little disappointed with this album because it was exactly another installment in the very loud wall of sound aggressive pop metal approach. As we've heard on albums like "Terria", "Infinity", "Epicloud" and even "Zed Squared", Devin and the band play loud and layered heavy guitar music with a triad of screamed vocals that could make a poltergeist crap itself, soaring operatic vocals, and gentle vocals that could put a cranky baby to sleep. Guest vocalist Anneke Van Giersbergen, a regular on DTP releases, appears once again, though this time she takes less of a lead role than on "Addicted" and "Sky Blue". The music is generally a blend of aggressive heavy music and variations of adult contemporary progressive pop (by that I mean no bee-bop, bubble gum pop) but all filtered through the concept of overcoming lack of confidence and a tendency toward self-deprecation, hence the title and theme of "Transcendence".

As with "Epicloud" and perhaps even more so with "Sky Blue", the ultra heavy/aggro sound that Devin is known for at times is restrained here and only brought out in special moments that require that angst effect. There's actually a lot of acoustic guitar here compared to the other two albums mentioned above in this paragraph and even when the heavy electric guitars are thundering away it's possible to pick out the strummed acoustic guitar in some tracks. By the end of the album there's a noticeable change in direction toward lighter music with some very pleasing and beautiful moments. Of course, Devin's music often has what I call the audio equivalent of the swimming pool chlorine effect, which is because when I was a kid, after coming out of the pool I could see hazy rainbows around any light sources because of the chlorine in the water. Devin's mixing approach has a hazy, nebulous, echoing cloud of sound around the vocals, keyboards and guitars, and there's no exception here.

As I stated earlier, I was originally disappointed and that was because I had been expecting possibly hearing something really new and refreshing instead of what I quickly concluded was part three in the trilogy of "new" DTP albums that includes "Epicloud" and "Sky Blue". Remember that the original concept of the Devin Townsend Project was to release four distinctly different albums which is what we got with "Addicted", "Ki", "Deconstruction", and "Ghost". These latter three follow a more similar formula which could be considered the Devin Townsend style of the 2010's. However, after the third and fourth listen through, I found myself enjoying this new album more. It also made me want to go back and listen to a variety of songs from Devin's catalogue and I listened to a 58-song mixed playlist that also included songs from his other band, the defunct extreme metal outfit Strapping Young Lad. Thinking about it now, "Transcendence" is very much a Devin Townsend album.

I bought the special edition with a bonus disc called "Holding Patterns" which features two additional completed tracks and a bunch of demos which actually sound good enough to not be called demos (Devin says that demos are prepared ready to hear as they should sound though the songs might still undergo some changes in the mixing before growing out of their demo status). While the songs on "Transcendence" are meant to be based on deeper and more profound notions, the tracks on the bonus disc are a variety of moods including high-speed, aggro metal, pop metal, a song resembling a dance remix of an eighties dance rock song done in DTP style, and a classic rock and roll song with piano but also done in the wall-of-sound, in-your-face style of DTP. There's also an instrumental featuring Devin's lead guitar playing, which is actually very good but he downplays it in the album notes.

Fans of Devin will have nothing to complain about here. It's yet another solid album. Newcomers will be alright to hear this album first, though I personally would recommend starting with "Terria" and "Synchestra". I have been wavering about the star rating, unsure of whether to award four stars or three. I would choose either depending on my feeling at the time of listening to the album. For today, I will give it only three stars simply because I don't feel Devin has given us anything really new. For someone who really has tried to stretch out and create his own distinct concoctions of music, this album is in a way an easy approach for him to follow.

Incidentally, the Japanese edition comes with three additional demo tracks, and I was very tempted to pay the extra 1,000 yen to get them. I really wanted to hear the song called "Sophie's Boobies". But economy and reason got the better of me and I just bought the regular double-disc edition.

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Experimental/Post Metal bands/artists list

Bands/Artists Country
11 AS IN ADVERSARIES France
19 A.D.D. United States
21 EYES OF RUBY Netherlands
THE 3RD AND THE MORTAL Norway
413 United States
5IVE United States
6:33 France
A((WAKE)) United States
AABSINTHE France
ABANDON Sweden
ABYSSE France
ACROSS TUNDRAS United States
ACYL France
ADMIRAL BROWNING United States
ADRIFT Spain
AFTER MY OWN United States
AGALLOCH United States
AGES GONE Germany
AKPHAEZYA France
AKROMA France
ALASKAN Canada
ALCEST France
ALTAR OF PLAGUES Ireland
AMARA United States
AMATERAZU Portugal
AMBEON Netherlands
AMENRA Belgium
AMESOEURS France
AMIA VENERA LANDSCAPE Italy
ANATHEMA United Kingdom
ANCESTORS United States
AND HARMONY DIES Italy
ANGEL EYES United States
ANTIGUA Y BARBUDA Spain
ANTIMATTER Multi-National
ANUBI Lithuania
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
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
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
MOD FLANDERS CONSPIRACY United States
MOLOKEN Sweden
MOMENTUM Iceland
MONDRIAN OAK Italy
MONUMENTUM Italy
MORAINES Croatia
MORNE United States
THE MORNINGSIDE Russia
MORTIFERIA Norway
MOSE GIGANTICUS United States
MOSKAU Germany
MOUNTAINS BECAME MACHINES United Kingdom
MOUTH OF THE ARCHITECT United States
MUTYUMU Japan
MY SILENT WAKE United Kingdom
MYSTER MOBIUS Multi-National
MYSTIC Netherlands
NAHEMAH Spain
NAHRAYAN Spain
NANDA DEVI United States
NATIONAL SUNDAY LAW United States
NAUTICUS Finland
NEBRA Switzerland
NERO DI MARTE Italy
NEUMA Poland
NEUROSIS United States
NEVBORN Switzerland
NIHIL Serbia
NINTH MOON BLACK United States
NO HOME FOR HEROES Australia
NO MADE SENSE United Kingdom
NOCTIS Australia
NOEKK Germany
NORTH United States
NOVEMBRE Italy
NUCLEUS TORN Switzerland
OBSIDIAN KINGDOM Spain
THE OCEAN DOESN'T WANT ME South Africa
THE OCEAN Germany
OCOAI United States
OHGOD! South Africa
THE OLD DEAD TREE France
OLD MAN GLOOM United States
OMB Israel
THE OMEGA EXPERIMENT United States
OMEGA MASSIF Germany
ORANSSI PAZUZU Finland
ORDO DRACONIS Netherlands
ØRKENKJØTT Norway
ORPHANED LAND Israel
ORTHODOX Spain
OSI United States
OSTROVA Spain
THE OTHER SIDE OF THE SKY United States
OUTOPSYA Italy
OVERMARS France
ÖXXÖ XÖÖX France
PAN.THY.MONIUM Sweden
PANOPTICON United States
THE PAX CECILIA United States
PECCATUM Norway
PELICAN United States
PET SLIMMERS OF THE YEAR United Kingdom
PIKE Sweden
PINKLY SMOOTH United States
THE POSTMAN SYNDROME United States
PRISMA Switzerland
PROGHMA-C Poland
THE PROPHECY United Kingdom
PRYAPISME France
PSYCHOFAGIST Italy
PSYKUP France
PYRAMIDS United States
QUALEACEANS United Kingdom
QUARANTADUE Italy
QUBE Poland
QUESTIONER United States
RADAR Finland
RADIATION 4 United States
RAIN DELAY Serbia
RAINROOM Finland
RAXINASKY Belgium
RED PAPER DRAGON United Kingdom
REFRACTION Ireland
THE REPTILIANS United States
RETURNING WE HEAR THE LARKS United Kingdom
ROSETTA United States
ROUTE NINE Sweden
RWAKE United States
RYOKUCHI Japan
SAL Y MILETO Ecuador
SALVICTION Poland
SANNHET United States
SCHIZOID LLOYD Netherlands
SCORCHED SHORE United States
SECONDSKIN United Kingdom
SENMUTH Russia
SENSUAL NOISE Belgium
SEPIA DREAMER Sweden
SEVEN United States
SEVEN NAUTICAL MILES Sweden
SEVENTH EVIDENCE / KA.MMEN Ukraine
SHELS United States
SHELTER RED United States
SHELVING Switzerland
SHEPHERDS OF CASSINI New Zealand
SHRINEBUILDER United States
SIGH Japan
SIKA REDEM United Kingdom
SISARE Finland
SKAGOS Canada
SKEWED SKIES Germany
SLEEP MAPS United States
SLEEPING IN GETHSEMANE United States
SMALLMAN Bulgaria
SMOHALLA France
SNOWBLOOD United Kingdom
SO IS THE TONGUE United States
SOEN Multi-National
SOLSTAFIR Iceland
SONS OF ALPHA CENTAURI United Kingdom
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
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