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POST ROCK/MATH ROCK

A Progressive Rock Sub-genre


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Post Rock/Math rock definition

POST-ROCK:

The term post-rock was coined by Simon Reynolds in issue 123 of The Wire (May 1994) to describe a sort of music "using rock instrumentation for non-rock purposes, using guitars as facilitators of timbres and textures rather than riffs and powerchords."

Originally used to describe the music of such bands as Stereolab, Disco Inferno, Seefeel, Bark Psychosis and Pram, it spread out to be frequently used for all sorts of jazz- and Krautrock-influenced, instrumental, electronica-added music made after 1994. Bands from the early 1990s such as Slint, or earlier, such as Talk Talk were influential on this genre. As with many musical genres, the term is arguably inadequate: it is used for the music of Tortoise as well as that of Mogwai, two bands who have very little in common besides the fact that their music is largely instrumental.

The aforementioned Tortoise was among the founders of the movement. After the second Tortoise LP Millions Now Living Will Never Die, the band became a post-rock icon. After Millions... many bands (e.g., Do Make Say Think) began to record, inspired by the "Tortoise-sound" and were often described as post-rock.

In the late nineties, Chicago, Illinois, became the home base of many different groups. John McEntire (of Tortoise) became an important producer for lots of them, as well as Jim O'Rourke (of Brice-Glace, Gastr del Sol and many more). Post-rock began to range from the slow, guitar-based ambience of Boxhead Ensemble to the up-tempo electronica of Stereolab.

Montreal, Quebec band Godspeed You Black Emperor! - later renamed 'Godspeed You! Black Emperor' - brought a political element with anti-globalization movement leanings.

By the early 2000s, the term had started to fall out of favor, while the major artists kept on making high quality recordings. The wide range of styles covered by the term had robbed it of its usefulness almost from the moment it was coined.

Closely related to post-rock is the genre known as Math rock, characterized by more percussive timbres, and more dissonant harmonic gestures.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Post-rock".



MATH ROCK:

Math Rock is a genre that emerged in the late 80's and that was influenced by both the intricacies of progressive and avant-garde rock - King Crimson, Frank Zappa, Henry Cow - and 20th century composers such as Steve Reich and John Cage. The music is characterized by complex structures, angular melodies and constant abrupt changes in tempo and time signature. The name Math Rock is a term that grew out of the Chicago scene and the artists working with engineer Steve Albini in an effort to describe the new style.

The basic building blocks of Math Rock can be traced back to the late 60's and 70's where Progressive Rock artists were making more elaborate compositions than the standard rock bands and were experimenting with song structures. Early Avant-garde groups like Massacre, and artists such as Captain Beefheart and John Zorn were highly influential to Math Rock bands and traces of their music can still be heard throughout the genre. Another big influence to the Math Rock approach was Slint with their album "Spiderland" which showcased many techniques that Math Rock bands will follow in the future. Punk also had significant impact on the sound of Math Rock bands. Other notable influences are: Post-Rock, Heavy Metal, and Jazz.

Although there are Math Rock bands in different countries around the world, most reside in the United States, the Midwest in particular, and tend to be divided by regions: Pittsburgh bands (Don Caballero, Six Horse) Chicago bands (Shellac, U.S. Maple), Ohio bands (Keelhaul, Craw) Louisville bands (June 44, Rodan, The For Carnation, Crain), and San Diego bands (Drive Like Jehu, Tristeza) among others on both coasts. Japan was also an important country in the Math Rock genre with bands like Ruins and Zeni Geva.

Current team members:
as at 26/10/2019

Luca (octopus-4)
Keishiro (DamoXt7942)

Post Rock/Math rock Top Albums


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

4.33 | 90 ratings
CHILDREN OF GOD
Swans
4.33 | 82 ratings
RANDOM AVENGER
Magyar Posse
4.14 | 556 ratings
ÁGĆTIS BYRJUN
Sigur Rós
4.13 | 573 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.09 | 408 ratings
F# A# ∞
Godspeed You! Black Emperor
4.13 | 82 ratings
SOUNDTRACKS FOR THE BLIND
Swans
4.07 | 190 ratings
ENTER
Russian Circles
4.13 | 59 ratings
FOR LONG TOMORROW
Toe
4.27 | 24 ratings
HOW LONELY SITS THE CITY
Ascent Of Everest, The
4.05 | 262 ratings
SHADOWS OF THE SUN
Ulver
4.17 | 41 ratings
VIXIT
Battlestations
4.36 | 17 ratings
PIEONEAR
Silence Kit
4.20 | 31 ratings
KING NINE
Blueneck
4.55 | 10 ratings
LABRADFORD
Labradford
4.06 | 105 ratings
ONE TIME FOR ALL TIME
65DaysOfStatic
4.06 | 85 ratings
THE EXTENT OF DAMAGE
Battlestations
4.06 | 85 ratings
CODENAME: DUSTSUCKER
Bark Psychosis
4.63 | 8 ratings
REANIMATION
Lights & Motion
4.83 | 6 ratings
ATLAS
American Dollar, The
4.11 | 44 ratings
SINES
Jakob

Post Rock/Math rock overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the Post Rock/Math rock experts team

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Latest Post Rock/Math rock Music Reviews


 Drone Activity by ULVER album cover Live, 2019
3.68 | 9 ratings

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Drone Activity
Ulver Post Rock/Math rock

Review by Warthur
Prog Reviewer

4 stars Ulver's musical interests bounce around all over the place - we're talking about a group whose discography ranges from the rawest of raw black metal to dark folk music to synthpop, after all - so it's nice of them to give this release an apt title to tip us off to what to expect.

Though a live album, Drone Activity consists of all-original material. Don't think "drone" in the sense of, say, Ulver buddies Sunn O))) - instead, think "drone" in the sense of some of the mid-1970s work of progressive electronic masters like Tangerine Dream or Klaus Schulze. Heck, the album is even structured like Tangerine Dream's Zeit, with its four electronic ambient pieces occupying a timespan which would, were this to get a vinyl release, have each track taking up a side of a double album.

Don't think this is a full-on pastiche of Tangerine Dream, however; the aesthetic of Ulver's vampiric cyberpunk works of yesteryear is thick on the ground here, the band simply using a Tangerine Dream-esque format as a springboard for improvisation in their own distinctive style. The end result is another compelling release from a band who are never less than interesting.

 Sic Transit Gloria Mundi by ULVER album cover Singles/EPs/Fan Club/Promo, 2017
3.71 | 12 ratings

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Sic Transit Gloria Mundi
Ulver Post Rock/Math rock

Review by TCat
Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars Back in the first years of 1980, I visited (with some fearless friends, of course) some catacombs in Palermo, Italy. It is an event that will stick in my mind forever. The catacombs were located close to one of the major cathedrals in Palermo in the cemetery yard next to the church. We paid an entrance fee, descended some stone stairs burying us underground, opened the creaky door and were admitted into the strangest world that was a combination of the sacred and the profane. Here, the famous, religious dead were on display in their official Catholic robes and hats. Some were displayed along the walls, others were sitting in their thrones or lying in their crypts, all on full display for the living to either idolize or wonder about. These dead people were in various stages of decay, but were somehow preserved so as to not give out the usual unpleasantries of death (odor, rot), however, they were some of the scariest things I've seen, their eye sockets empty and their mouths agape, some looking like they were laughing, others looked like they were screaming. It was strangely intriguing, but definitely not in a religious way, at least in my own mind.

Why do I tell about this experience? Well, first of all, this album cover depicts exactly what it looked like. These people ruled in their religious world at one time and their idolizers for some reason wanted to remember them and visit them. Now they reign through fear, fear of the dead or fear of their sins. The music on this EP reflects the atmosphere of these catacombs. Ulver has hit the nail on the head as to this weird obsession of the religious and the dead and the atmosphere that is generated from this obsession. So many dark, black and heavy metal bands have tried to depict this with their loud music, but Ulver, instead, kept the atmosphere but ditched the loudness years ago and ended up coming up with the real atmosphere that I felt in those empty, soulless catacombs, from the album cover to the music.

There are 3 tracks on the CD and the digital versions of this EP. The first two tracks come from the same mold (probably recorded in the same sessions) as the album they released prior to this EP; "The Assassination of Julius Caesar". The first track is "Echo Chamber (Room of Tears)" which uses synth loops and lines that give an echo-y sound with the unique vocals. The music has a moderate beat that stands out among the layers of synth, almost a pop-like sound, but far from being radio friendly. However, even though it hints at the more accessible sound of "Julius Caesar", it still reminds one of long, empty caverns and traditions or beliefs long dead.

"Bring Out Your Dead" uses rhythmic synths along with melodic keys, sounding a bit like Depeche Mode, but with a Tangerine Dream texture, mysterious, yet appealing. However, no band reaches the mysterious atmosphere that Ulver can obtain, the one that gives them the edge over any other music that widens the depth of their sound like no other. The music goes into an atmospheric feel as it ends.

The last track is a surprising cover of "Frankie Goes to Hollywood" "Power of Love". While it may seem strange a band as innovative as Ulver would resort to a cover like this, you need to hear it before you judge. The atmospheric piano and synths make this a much better version than the original, with some excellent effects that seem almost squeezed out of the instruments. The lyrics take on a whole new meaning with the new arrangement, giving it more emotion than ever before.

I wish I had a copy of the vinyl that was released in 2018, a year after the digital version. It contains 4 more tracks, live tracks originally recorded for the album "The Assassination of Julius Caesar" recorded in various venues. I am curious to hear the live treatment of those tracks since Ulver can completely recreate their music in a live setting. Maybe I will someday and then I can add that to this review.

Anyway, the music on this EP reflects the same style that was on the Julius Caesar album. Like the catacombs that I mention in the beginning of this review, this music has a certain vibe to them, where you can hear a false joy to the tracks that is somewhat covered with a bit of despair and grief. The real sense of the catacombs is an emptiness, but in reality, the bodies are there, but they are only empty husks, things that have long ago been transformed into just another inanimate object. The life that possessed these objects has passed from them, and the music here represents the long ago memories of that have actually been dowsed by the grotesque display of death. In an effort to try to make these church officials eternal by displaying their bodies, people have instead turned the memory of them into an ugliness that out shadow any joy they may have brought (supposedly) to those that wanted to remember them. That might not make sense to you, but to me, it best describes this music which to me portrays this goofy practice. If you delve deeper into Ulver's music, you will notice contrasts of both emptiness and beauty, you will even better understand how obsession with death is just an emptiness, dark and lonely, yet the promise of life and things that are better will bring a beauty to everything, even death.

 Earth Division by MOGWAI album cover Singles/EPs/Fan Club/Promo, 2011
3.58 | 12 ratings

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Earth Division
Mogwai Post Rock/Math rock

Review by TCat
Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars Earth Division is an EP that was released by Mogwai in 2011. The 4 tracks on the EP were exclusive to the recording and were recorded during the same sessions as "Hardcore Will Never Die, But You Will" and released later in the same year. These tracks just didn't seem to be in the same style as what was on the album in that they were quieter tracks, so the band released them separately to show off that quiet side of the band.

"Get to France" proves that fact right away as it is led off by a solo piano and later joined by strings and various keyboard stylings. The track is a lovely, almost cinematic theme that stays soft throughout. "Hound of Winter" is led more by an acoustic guitar, this time with twinkling piano, soft accordion effects and swelling strings and guitars. There are vocals in this track, the singing kept pensive, yet out front instead of buried and subdued. Again, this track is beautiful and cinematic.

"Drunk and Crazy" is harsher with thick droning guitars. The guitar wall waxes and wanes as it goes on, the drums are somewhat subdued into the mix. At 2 minutes, the wall of sound expires and we are left with pleading strings. Piano chords chime in with a fuzzy effect making things a bit unsettling. As the music builds a bit, the harsh wall of guitars push the music forward again, first tentatively and then almost taking completely over again. "Does this Always Happen?" quiets things down again with a chiming guitar riff and a violin creating another beautiful theme. Piano again joins in with bass and the piece continues along with that same soundtrack feel as before.

The album is exquisitely lovely with sadness and pain expressed in a heartfelt way mostly unlike the band has done before. It shows a more vulnerable side of the band and their music. It is obvious why this music had to be separated from the album and placed here on its own. The biggest fault of this, as is the problem with many short EPs, is that it is too short. You only want to hear more of this by the time it ends. But the music is lovely enough to merit a 4 star rating.

 For Long Tomorrow by TOE album cover Studio Album, 2009
4.13 | 59 ratings

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For Long Tomorrow
Toe Post Rock/Math rock

Review by Kempokid
Collaborator Prog Metal Team

4 stars Toe's debut impressed me with its lovely mix of math rock's complexity with the twinkly guitars that can be found in Midwest emo, ultimately making an album that managed to be both frenetic, yet soothing. With this in mind, I went into For Long Tomorrow with high expectations, wondering what the band would do to further refine their sound. What I found was an album that felt like a step forward and a step back at the same time, creating an album that had more variety, largely thanks to the guest vocals utilised throughout, yet the album also feels as if it lacks that perfect contrast between 2 opposing feels that drew me into their debut so much, leaving the quality more or less the same to me.

Just like with their first album, Toe kick this one off with a track that begins sounding very glitchy and unusual before slowly revealing its sense of structure, before kicking into track 2, which is full of extremely tight instrumentation paired nicely with excellent drumming. This track is relatively short, but definitely sets up the album very nicely, being overall more mellow without being completely toothless, which is fairly representative of the album as a whole. After Image is one of my personal favourite moments here as a whole, the soft vocal melodies being nothing short of beautiful, made even better once the guitar begins following this same melody to create a burst of dense, yet lush greatness. This sense of variety is maintained by the energy present in track 4, the drumming being absolutely pinpoint while simultaneously being absolutely breakneck, which is made even more prominent once the electric guitars briefly kick in to increase the tempo significantly, making for a very dynamic and engaging track. Say It Ain't So takes the sound to an interesting place, sacrificing most of the complexity in favour of a simple, catchy riff backed by equally lovely vocals to create a more conventional song, which genuinely works quite well, given how its tone and atmosphere isn't a far cry from other tracks on the album.

Many of the other tracks tend to be somewhat more standard in the context of the band, with varying degrees of success, the 2 part track being one of my personal favourites based on the progression that can be seen between the 2, the latter being more chaotic in its composition, with the drumming suddenly becoming extremely high hat, providing a suitable change while still staying firmly within the confines of the album. My one big issue with this album stems from its final three tracks, at which point I feel that the band ran out of steam, with none of them having anywhere near the same inspiration for me as the rest, which genuinely weakens the overall experience significantly, knowing that it all just fizzles out at the end. These aren't necessarily bad by any means, simply lacking in anything to make them truly great, inoffensive across the board.

Overall, I feel relatively similar about this album as I do about Toe's first, that it's a lovely, mellow math rock album that begins to wear thin by the end. The relative lack of intensity this has compared to the debut is also a bit of a disappointment, but is balanced out nicely by the variety this album possesses, especially with the vocals on certain tracks really keeping things fresh. I honestly wouldn't recommend one of these albums to listen to first over the other, as both definitely have their strengths and weaknesses, but are overall great, making both options valid ones.

Best tracks: After Image, Track 4, Track 7 and 8

Weakest tracks: You Go, Our Next Movement, Long Tomorrow

Verdict: Wonderful twinkly math rock that is able to contain the complex heart of the genre while seamlessly blending it with lovely melody, overall a high quality album, despite is falling short by the end.

 The Evpatoria Report by EVPATORIA REPORT, THE album cover Singles/EPs/Fan Club/Promo, 2003
3.07 | 6 ratings

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The Evpatoria Report
The Evpatoria Report Post Rock/Math rock

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

4 stars THE EVPATORIA REPORT EP

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THE EVPATORIA REPORT formed in 2002 in Yverdon-les-Bains located in the French speaking Vaud region of Switzerland. The band was active from 2002-2008 but broke up and then reformed in 2015 and is still together. This band consists of two guitarists (Laurent Quint, Simon Robert), one bassist (David Di Lorenzo), a drummer / glockenspiel player (Fabrice Berney) and another member (Daniel Bacsinszky) who double dips as a keyboardist and violinist. The moniker was adopted from the Crimean city of Yevpatoria which is where the radio telescope RT-70 P-2500 is located. The purpose of this large apparatus is to send messages into space.

The purpose of the band THE EVPATORIA REPORT however is to deliver a unique sound of post-rock that creates hypnotic polyrhythmic syncopated guitar riffs and layers them into ever increasing tempos while the bass and drums keep the melodic flow churning on. This eponymously titled EP debut only contained two tracks neither of which have been released on the band's two albums 'Golevka' or 'Maar.' The EP is only sixteen and a half minutes long but delivers a fine mix of guitar, bass and drum oriented post-rock with violin. As the references to space hint upon, this band is indeed spacey.

'Naptalan' is the simpler of the two tracks with a single guitar building up the melodic construct while a bass slower jumps in and then a drumbeat. This track reminds me a lot of the Mogwai playbook in that it slowly builds off of a guitar riff and adds ever increasing subtleties until a crescendo occurs minutes down the road. Unlike Mogwai, THE EVPATORIA REPORT likes to implement a more robust percussive display and a broader range of sounds as the guitar strums change it up as do the bass lines and drumming patterns. On this track there are very faint keyboard sounds in the background that add a bit of classical J.S. Bach baroque sounds to the mix.

'Voskhod Project' is the longer of the two tracks and starts with a jittery echoplex of guitars that usher in a boomy bass and strong cymbal action. This reminds me of some of the techniques used on the Buckethead Pikes but this band came first. This is the more bombastic of the two as it picks up the tempo and the guitars create super fast staccato polyrhythms while the drums and bass pound away. Heavy electric guitars also employ a distorted filthy rock feel but when the melancholic violin joins in the guitars slow down almost as if they're weeping. The track at nine and a half minutes long slowly builds but does it very well. This band is much more varied than Mogwai even though that band is the closest reference i can hear. Definitely one for the post-rockers who love more emotion pouring out of their speakers.

 On Circles by CASPIAN album cover Studio Album, 2020
4.00 | 1 ratings

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On Circles
Caspian Post Rock/Math rock

Review by TCat
Collaborator Eclectic / Prog Metal / Heavy Prog Team

— First review of this album —
4 stars Caspian is a post/math rock band from Massachusettes that came together in 2003 and through the years have released several albums and EPs of their instrumental music. In January of 2020, they released their 5th album "On Cirles" that features some of their unique takes on the genre in the form of 8 tracks ranging from 4 to 8 minutes in length. The core band now features 6 musicians and, on this album, a few guests to help add some dynamic and variety in this album.

Beginning with "Wildblood" you know right away this is far from the formulaic post rock sound as a sax comes in giving some depth to the instrumental music and almost bringing it to a fusion sound with a unique feel. The variation in sound help to set this apart from the typical sound, and a more unpredictable dynamic is used that nevertheless allows the music to reach that climactic ending that you desire. "Flowers of Light" has an underlying riff that feels like the sparkling of the sun shining and actually takes away the usual darkness created by the increasing intensity, and also makes the music take on a whirling sensation, stirring everything together into an almost uplifting sound.

"Nostalgist" begins more dream-like from the arpeggios coming from the guitar and bass, and then a surprise from guest vocalist Kyle Dufrey. The unexpected vocals only add more texture to the overall album, and the music is even quite accessible. The music builds and releases, as expected, but then resolves itself into a smooth and even beat while at the same time building emotional levels in the vocals. Cellist Jo Quail also joins in a few tracks such as "Division Blues" which shows the band moving through different textures, the wall of guitar sound waxing and waning, always there, but never overpowering as they push out a theme using dynamics to keep it from growing stale or overly forced. It takes on a more cinematic feel than it does the usual post-rock feel, the instruments sounding more like an orchestra-style setting than a rock band.

A study in contrasts come out in the next two tracks with "Onsra" creating a nice, dreamy feel, almost sounding like a shoegaze style but with a cool, experimental vibe and a warbling effect in the percussion that appears in the middle of the track. It gives you a feeling of sailing on an open sea. However, the contrast comes with "Collapser" which is almost a complete opposite of the previous track, dark and heavy, shimmering guitars fade in taking us to another realm completely. The feeling of brightness apparent in the previous tracks is completely lost in this one, as it churns along, creating yet another texture in this dynamic collection of tracks. In the middle of this one, a chunky bass churns out angrily pushing the guitars to increase their loudness, but a sudden resolve makes for calm which soon gets pushed again into walls of dark sound and heaviness, yet with an intriguing melody that sticks with you after the track is finished.

"Ishmael" is a wonderful, standout track, which features swaying chords which give way to a violin, cello and strummed guitar. You get an almost "GY!BE" vibe here as it slowly develops, yet there is a level of clarity to the music that is not often heard in this genre. Chiming guitars eventually take the melody as underneath it, a smooth countermelody is contrasting the harsher guitar, however, the music still has that uplifting feel to it, and the drums eventually find their beat leveling everything out nicely. The music builds again some more, and then falls off as we hear layers of guitar and synth sparkling along to the end. The album ends with "Circles on Circles" which provides another surprise of a nice solo acoustic guitar and vocals by regular band member Phillip A Jamieson. The vocals are softly layered to create and soft harmonization and a smooth tonal drone create a nice atmosphere. The track remains mellow and relaxing, even when the smooth rhythm kicks in. Beautiful.

What we end up with here is an excellent album that proves that variety can exist in post rock music without taking the music completely outside of its genre. Dynamics can be spread throughout tracks and not used so predictably as with other post rock bands. This album is wonderfully textured all the way through, and offers a surprising variation of sound and style, while still keeping within the genre. It's all very nice and, with only a few exceptions, well structured and interesting. The music keeps you engaged, and doesn't have to be just used as background music, but has plenty to offer to make you want to listen. 4 stars. Very enjoyable.

 Silence Teaches You How to Sing by ULVER album cover Singles/EPs/Fan Club/Promo, 2001
3.33 | 23 ratings

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Silence Teaches You How to Sing
Ulver Post Rock/Math rock

Review by TCat
Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars Moving from black and folk metal to instrumental and moody soundtracks, at this point Ulver had finally come out into an electronic style. When they released their acclaimed and excellent 'Perdition City', everyone was interested in where they would go next. However, during the sessions for that album, Kristoffer Rygg was experimenting around with taking things to a subtle and ambient place, and during that time, recorded music that was not intended for that album, but was to be released separately, mainly because of the ambient and experimental nature of the music. This music filled up two EPs and it was decided to release them in limited editions. Since that time, the demand to make them more readily available, the two EPs were combined onto one disc (called 'Teachings in Silence', again in a limited edition, which was later released more widely a few years later. However, the two separate EPs have since been made available for download in 2013 and are now easily available on Bandcamp.

'Silence Teaches You How to Sing' is one of these two EPs. On this one, there is only one long track with the same name as the EP. This track, however, is obviously made up of shorter sections that pass along through time like a lesson in how to make a combination of music and atmosphere come together in new and interesting ways. The first 5 minutes is quite atmospheric and less structured, but all the while, it is interesting and meaningful while being moody and colorful. After a while, keys tend to pick up a repeating melody with less of a free form feel, but glitchy noise and interesting sounds keep it sounding like it is moving forward. More textural changes continue, but each change is built upon some type of structure, sometimes more noticeable than others. Even broken pieces of vocal sounds are added in and for a short time, tend to lead the passage of time as it continues on, but then a smoothly phrased wordless vocal loop is produced while glitches and short musical phrases play. As usual with this EP though, change is inevitable.

Both EPs use both repetition and unpredictability together very effectively. However, while 'Silence the Singing' relies more on longer repetitions and has a slightly more structured feel to it, 'Silence Teaches You How to Sing' tends to have more variation in its single track that lasts just over 24 minutes. However, there is much less dynamic inflection in this EP, but that doesn't mean it isn't just as interesting. On this EP, you can expect more change in texture and style as it can happen more often, where on the companion EP, the three songs are distinct and more focused. Either way, the ambience/noise is effective and brilliant, and just like the other EP, this is better experienced through headphones. If it is still possible to get the combined EPs on one album (which, by the way, is called 'Teachings in Silence'), then that is the best way to get them, as they tend to work better together. But, if not, then definitely download the two EPs and put them together into one experience.

 Silencing the Singing by ULVER album cover Singles/EPs/Fan Club/Promo, 2001
3.39 | 23 ratings

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Silencing the Singing
Ulver Post Rock/Math rock

Review by TCat
Collaborator Eclectic / Prog Metal / Heavy Prog Team

4 stars Moving from black and folk metal to instrumental and moody soundtracks, at this point Ulver had finally come out into an electronic style. When they released their acclaimed and excellent 'Perdition City', everyone was interested in where they would go next. However, during the sessions for that album, Kristoffer Rygg was experimenting around with taking things to a subtle and ambient place, and during that time, recorded music that was not intended for that album, but was to be released separately, mainly because of the ambient and experimental nature of the music. This music filled up two EPs and it was decided to release them in limited editions. Since that time, the demand to make them more readily available, the two EPs were combined onto one disc (called 'Teachings in Silence', again in a limited edition, which was later released more widely a few years later. However, the two separate EPs have since been made available for download in 2013 and are now easily available on Bandcamp.

'Silence the Singing' was one of the two EPs containing this atmospheric and ambient music. It is comprised of 3 tracks that together take up almost a half hour run time. It begins with 'Darling Didn't We Kill You?'. Even with this formidable title, the music is quiet, yet dark and foreboding. There is an unsettling beauty to the music, again all mostly electronic or processed loops and sounds. The music all works together to create a simple, yet somehow complicated beauty heard not just in the music passages, but the use of sounds and noise to give a unique and interesting experience. Even though some of it may seem random, you can't help but feel that it is all purposefully placed because of how well it all works together to develop the sound, and you will notice slow progression into alternative themes as it continues, slowly building a level of movement that never gets loud, but definitely gets more intense even so. The creativity is in the slow and repetitive nature of the music in the foundation, but also in the adding and taking away of atmospheric noises, clicks, hisses and so on, with a high pitched, but even hardly heard synth improvising softly over it all.

'Speak Dead Speaker' doesn't rely on a beat or repetitive loops like the first track, but is much more ambient, allowing itself to be carried forward by glitchy noises, pops and such while quiet violin and piano are used to create texture more than melody. This is one best experienced with headphones so you can hear the subtle changes in texture as at times, the 'drone-like' foundation that lays lightly on the background created by static can suddenly stop leaving you feeling like you are hanging in mid-air. But, as it can quickly stop, it can also quickly begin again while the phrased violin motif continues on gluing it all together. But the few times when almost all sound stops, the silence can be the most deafening thing about the track. Towards the end, the strings increase in volume as does what sounds like some kind of string drum. But, again, it never really gets loud, just more intense.

'Not Saved' is a glitch-noise masterpiece. A solemn organ keeps the sound consistent in the background, but the unpredictable noises are the centerpiece here, and they are used so effectively well. It's like some warning trying to break through the silence, and the scariest parts is when it just about succeeds. Along with this, a clanging bell chimes at regular (?) intervals, and even it gets manipulated by the mysterious force clouding over the entire thing. Again, headphones will give you the best experience here. When the sound fades, you think you are safe, but then it suddenly bursts through your speakers with a vengeance, the bell seems to desperately try to disperse the uneasiness of it all, but even their sudden increase ends up only encouraging the darkness of created by the strange noises going on around. This just goes to prove that you don't need heavy levels of noise to create dark textures, that maybe, just maybe, the silence and the ambience can be scarier than heavy blasts of noise. It's simply astounding.

This won't be for everyone because you might need a higher level of patience, but it is guaranteed to grow on you if you let it. It is also easy to get lost in the atmosphere of it all, and Ulver, somehow, created a masterpiece out of it all. It is one of the best recordings of its kind, and has even ended up being more influential to ambient/noise soundscapes than what it may have intended. This, along with the companion EP 'Silence Teaches You How to Sing', is one of the best studies of the use of music, noise and silence around, but you have to let it work on you to really feel and understand it.

 Beyond by HIBERNAL album cover Studio Album, 2020
3.05 | 3 ratings

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Beyond
Hibernal Post Rock/Math rock

Review by TCat
Collaborator Eclectic / Prog Metal / Heavy Prog Team

3 stars Mark Healy's post rock project "Hibernal" has made some decent sci-fi concept albums through the years, and continues to do so. Since 2013, he has released 8 full-length albums including "Beyond", his latest album to date, in January of 2020. This album consists of 8 tracks, all of them reaching between 6 - 8 minutes. The sound on this album tends to move away from the guitar-heavy post rock sound and leans more towards an ambient and electronic sound. However, the story telling method that he uses on his Hibernal albums continues to use voice actors doing both narration and role playing as before.

The story on this album deals with two astronauts, voiced by Scott Gentle and Faleena Hopkins, who experience a strange reality glitch when trying to travel through hyperspace, with a twist in the plot towards the end of the album. Mark has used these two voice actors in previous albums, and they do bring a nice dramatic feel to the story as the long instrumental sections float along, staying away from the guitar heaviness of Hibernal's past few albums, and this time staying in more of a constant beat with flowing synths and laid back guitar atmospheres.

Mark is not the only instrumentalist on this album. As in some of Hibernal's past albums, Rowan Salt also helps out on instrumentation, though it's not really clear who does what. Mark's strengths lie mostly in storytelling, and this is proven by his plotlines and the fact that he has written many novels with cyberpunk themes. The story on this album is definitely not so involved, but that keeps the listener both intrigued by the easy to follow plot line, and also works to keep from distracting from the cinematic feel of the music.

The first four tracks tend to follow a steady beat with an even flow, not much change between the tracks, and also the music is more atmospheric and not really connected to melodies as much as it is to creating a consistent soundscape. The music becomes more experimental and exploratory from "Canopy of Stars" to the end of the album. Also, the story becomes more intense at this point, and those that are into the story will definitely be listening intently.

Listening to a story in this manner is not my preferred way of listening to music, mainly because, just like most average movies or books, once you have watched or read it, the element of surprise is gone. The same thing applies to me with this story/music album. The music is just not interesting enough to be played for its own sake, its not really that cinematic and expressive until you near the end of the album, but even then, it is a bit subdued and flat. The story itself is great for a single listen, but there just isn't enough there to make me want to keep coming back to this album. Sure, there might be some that enjoy the more electronic feel of the music on this album, but to me, it just isn't interesting enough as each track in the first half isn't diverse enough and in the second half, after the first listen, just isn't intriguing enough to keep me coming back. Basically, when all is said and done, the album just falls into the average range and doesn't really entice me to want to listen to it again.

 ONDA by JAMBINAI album cover Studio Album, 2019
4.17 | 22 ratings

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ONDA
Jambinai Post Rock/Math rock

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars Some of the most extraordinarily different prog rock that I've heard since I first heard Yoshimi P-W's OOIOO. This is Post Rock from Korea with its musicians proudly integrating the traditional instruments of their homeland with those of the rock'n'roll world.

Line-up / Musicians: - Il-woo Lee / guitars, piri (family of bamboo oboes), taepyeongso (short, conical wooden oboe with metal bowl serving as its spout), saenghwang (reedless mouth organ with 17 bamboo pipes, capable of playing two notes at once), vocals - Bo-mi Kim (f.) / haegeum (vertical two-stringed violin like a berimbau, bowed), vocals - Eun-yong Sim (f.) / geomungo (fretted bass zither, plucked), vocals - Byenong-koo Yu / bass, chorus vocals - Jae-hyuk Choi / drums, chorus vocals With: - Hwi-seon Choe / yanggeum (hammered dulcimer) (1,3) - Bo-ra Kim / vocals (5) - Gyouh-yun Jo / chorus vocals (4,8) - Jin-young Han / chorus vocals (4,8)

1. "Sawtooth" (7:39) powerful Post Rock that opens with traditional Korean instruments, wind and stringed. These are joined, eventually, in the third minute, by drums and electric instruments from the more familiar realms of rock'n'roll, providing not one but two very impressive rise and falls over the course of the remaining five minutes. Despite this addition of full drum kit, electric bass, and aggressive electric guitar, it is the Korean instruments that remain the attention-grabbers, expressing very powerful emotions. Dynamic and refreshing Post Rock. A top three song. (14/15)

2. "Square Wave" (5:05) rock and traditional instruments are mixed from the start of this one as is the gorgeous, powerful DAM KAT-like voice of Bo-mi Kim. This is so good! Smooth chorus section at the end of the second minute and then a quiet, spacious, section, latent with potential energy, that is followed by an even more powerful instrumental section in the third and fourth minutes before the final crescendo of sound and ending verse in the final minute. The interplay of the electric rock instruments with the Korean acoustics is incredible! Awesome song! Definitely a top three for me. (9.5/10)

3. "사상의 지평선 (Event Horizon)" (3:55) opens in fifth gear with everybody strumming, beating, and screeching at their fastest and then, equally as suddenly, at the 1:00 mark, everything cuts out save for a bowed berimbau-like haegeum and hand drum/hand percussion. By the end of the second minute vocalist Eun-yong Sim (or Bo-mi Kim) is adding her voice to the weave until 2:41 when the electric contingent rejoins and it plays out like a Death Metal song. (8.75/10)

4. "검은 빛은 붉은 빛으로 (Sun. Tears. Red.)" (5:51) single note played syncopatedly from an electric guitar- or bass-like instrument opens this song before being joined by a choir of voices singing quietly in an almost prayer-like chant- kind of way. Amazing! At 1:35 all hell breaks loose as a heavy LEPROUS-like sound breaks out with vocal and Korean instrumental screeches over the top. Just before the two minute mark, this cuts out and a percussion-supported multi-voice, polylyric, polyrhythm section ensues. Wow! In the fourth minute the heavy walls of sound return for a bit but it is then broken up by alternating quick passages of multi-voice shouting and chanting (and intentionally not in unison). In the fifth minute the music steadies itself, not quite as heavy, as Korean violin solos, but then just before the 5:00 mark, the soundscape thickens and weighs down as a male voice screams his lyrics in two-syllable bursts to the end. Wow! I'm not sure how to judge this one! Unlike anything I've ever heard before! Amazing! Another top three song! (9.5/10)

5. "나무의 대화 (In the Woods)" (13:16) opens like a HYPNO5E song with delicate, spacious, almost folk instrumental inputs from all musicians. Even into the meat of the song, at the 3:30 mark, as Il-woo's saenghwang takes center stage and then gets replicated with several other tracks, the music still feels totally folk-traditional. Wild vocals enter in the sixth minute and then oboes. Drums and bass slowly climb in during the second half of the seventh minute, but then there is a calming break in which the saenghwang leads over haegeum, geomungo, and electric bass. Electric guitar joins in the eighth minute just before the pace and density ramps up. This is definitely Post Rock! At the ten minute mark heavily distorted electric guitars and bass begin providing typhoon-like wind noises as the drummer really starts to go crazy. "ooo" vocals repeat a melody from here to end. Nice song with a stunning beginning five minutes that becomes a little long and drawn out. (21.75/25)

6. "작은 위로가 있는 곳에 (Small Consolation)" (5:18) a single note from an oddly tuned electric guitar signals the start of Ilwoo Lee's almost-whispered voice. Over and over this occurs, like a Tibetan prayer cycle, until at 1:15 Bo-mi Kim's haegeum and Eun-yong Sim's geomungo begin to add their sounds behind and round the guitar and vocal/chanter. At 2:25 the full electric band comes crashing in with heavily strumming guitar, bass, and flailing cymbals and pulsing drums. The Korean strings continue their screechy soloing over and within until things go even fuller-dark at the end of the fourth minute. Then, suddenly, at 4:23, everything stops except for the original three plucked/bowed instruments, which then slowly fizzle and exit. (9/10)

7. "그대가 지내온 아픔들이 빛나는 축복의 별이 되어 (ONDA Prelude)" (2:18) drone of a single sustained electric bass note opens while traditional Korean mouth organ (saenghwang) plays a dirge-like tune over the top. Amazing instrument the way it can project two controlled notes at one time! (5/5)

8. 온다 (ONDA) (7:07) launches straight out of the "Prelude" with lots of hard-driving percussion and haegeum provide initial support for the slow, religious-sounding singing of Bomi Kim. Gorgeous! And powerful! Kim is then joined in chorus form by Ilwoo Lee. The music here reminds me of Middle Eastern prog like Ofra Haza. At 3:15, Bomi Kim switches to haegeum and Ilwoo to his bamboo oboe (pim) as the rhythm section continues to drive on at breakneck speed. The full metal impact of electric instruments reaches full strength at the five minute mark just as choral-singing of earlier slow religious lyric and melody ensue. This is, then, what plays out until cymbal crash at 6:35 and ensuing long decay of the feedback from the final strums of the electric guitar and bass. Amazing. I am numb and in humble shock with the power and beauty of this music. (15/15)

Total Time: 50:29

I feel so excited, so humbled and privileged, to have heard this music--to have continued access to it. Some of the instruments, sounds, stylings, and even melodies sound similar to Mongolian band ANDA UNION--though my untrained ear is most likely lumping all Sino-Korean sounds and melodies together.

A/five stars; a masterpiece of mind-blowing progressive rock music in which the band fuses the traditional instruments and melodies of its native cultural traditions with the best and most powerful of Post Rock techniques better that any other band that I've ever heard.

Data cached

Post Rock/Math rock bands/artists list

Bands/Artists Country
.O.RANG United Kingdom
[BLEU] Switzerland
100 ONCES United States
1099 Norway
12TWELVE Spain
33.3 United States
37500 YENS France
3ND Japan
417.3 Russia
52 COMMERCIAL ROAD United Kingdom
65DAYSOFSTATIC United Kingdom
A FOOL'S ERRAND Netherlands
A. ARMADA United States
ABOUT TESS Japan
ACANTILADOS Argentina
ACROSS THE WAVES Iran
ACTARUS Luxembourg
ACTIVITIES OF DUST United States
ACTUAL MUSIC QUARTET RSM Russia
ADEBISI SHANK Ireland
AERIAL Sweden
AESTHESYS Russia
AFFORMANCE Greece
AIMING FOR ENRIKE Norway
AIUA United States
AL SABO United States
ALBINOBEACH South Africa
THE ALBUM LEAF United States
ALFHEIMR United States
ALL ANGELS GONE France
ALL WILL BE QUIET Finland
ALL YOU'VE SEEN Switzerland
THE ALLSTAR PROJECT Portugal
ALPHA MALE TEA PARTY United Kingdom
ALRIGHT THE CAPTAIN United Kingdom
AM FOST LA MUNTE SI MI-A PLACUT Romania
AMBIENTE Mexico
THE AMERICAN DOLLAR United States
AN ORDINARY VISION Italy
ANA NEVER Serbia
ANALECTA United States
ANATHEME France
ANCIENTS Multi-National
AND SO I WATCH YOU FROM AFAR United Kingdom
AND STARS COLLIDE United Kingdom
ANOICE Japan
ANTARCTIC United States
THE ANTARCTICANS United States
ANTENNAS TO HEAVEN United Kingdom
ANTETHIC Russia
ANTIER Spain
APRICOT RAIL Australia
APRIL RAIN Russia
ARAMID United States
ARBOR LIGHTS United Kingdom
ARCTIC PLATEAU Italy
ARROWAY France
ART.FICIAL Brazil
ARTIFICIAL WAVES Russia
AS THE POETS AFFIRM Canada
THE ASCENT OF EVEREST United States
ASTRALIA Spain
ASTRO SONIC Norway
ATTILION Indonesia
AUDREY FALL Latvia
AUREA HYBRIDE Mexico
AUSTIN TV Mexico
AUTO!AUTOMATIC!! United States
AUTOMASSAGE Slovenia
AUTUMN MOONLIGHT Argentina
THE AUTUMN PROJECT United States
AXES United Kingdom
BAFFODORO Italy
GABRIEL BAKER United States
BALMORHEA United States
THE BALTIC SEA United States
BANGLADEAFY United States
BARK PSYCHOSIS United Kingdom
BATTLES United States
BATTLESTATIONS Belgium
BEAR THE MAMMOTH Australia
BEAST PLEASE BE STILL United States
BEATEN BY THEM Multi-National
THE BEAUTY THE WORLD MAKES US HOPE FOR France
BECAUSE OF GHOSTS Australia
BELEGOST United States
BELL ORCHESTRE Canada
BELOW THE SEA Canada
BELYE FLAGI ZAZHIGAYTE MEDLENNO Russia
BESIDES Poland
THE BEST PESSIMIST Ukraine
BETRAYAL AT BESPIN Finland
BEWARE OF SAFETY United States
BEYOND FREQUENCY Brazil
LA BIBLIOTECA DESERTA Italy
BILL IN THE TEA Italy
BILLY MAHONIE United Kingdom
BIRDS OF FIRE United States
BLACK FOREST / BLACK SEA United States
BLACKPAPERPLANES Belarus
BLUEBRIDGE QUARTET Sweden
BLUENECK United Kingdom
THE BODY LOVERS United States
BOHREN & DER CLUB OF GORE Germany
WES BORLAND United States
BOSCH'S WITH YOU Russia
BOXHEAD ENSEMBLE United States
BRAINBOW United States
BRASS KNUCKLE SURFER United States
BREADWINNER United States
BRONTIDE United Kingdom
BRONZE FAWN United States
THE BRONZED CHORUS United States
BROUGHTON'S RULES United States
BULLETS IN MADISON United States
THE BURNING SEA Australia
BY THE END OF TONIGHT United States
C Czech Republic
C'EST MORTEL United States
CADDYWHOMPUS United States
DAN CAINE United Kingdom
THE CALM BLUE SEA United States
CANYONSOFSTATIC United States
CARLOS DANGER United States
CARNENERA Italy
CARTA United States
CARTOGRAPHER Netherlands
CASPIAN United States
CAUDAL Germany
CAVES OF STEEL Norway
CECILIA::EYES Belgium
CELESTIAL WOLVES Belgium
CHARTS AND MAPS United States
CHEVAL DE FRISE France
CHICAGO ODENSE ENSEMBLE Multi-National
CHILDSPEAK United States
CHON United States
CHOOSE YOUR OWN ADVENTURE United States
IL CIELO DI BAGDAD Italy
CINEMATIQUE Austria
CINEMECHANICA United States
CLEAN OF CORE Japan
CLESSIDRA Italy
CLEVER GIRL United States
CLOUD ARCHIVE United States
COALA PASCAL Ukraine
CODES IN THE CLOUDS United Kingdom
COLARIS Germany
COLLAPSE UNDER THE EMPIRE Germany
CONCENTRIC United States
THE CONQUERING LIGHT OF FLORA AND FAUNA Denmark
COPTIC LIGHT United States
COUNTERFEIT I United States
CROMBIE United Kingdom
CUE United States
CUL DE SAC United States
THE DARK THIRD New Zealand
DATURAH Germany
DAY FOR AIRSTRIKES United Kingdom
DAYCAST United States
THE DEAD SEA Australia
DEADFILE Greece
DEADHORSE United States
DEL REY United States
DESERTSHORE United States
DETWIIJE United Kingdom
DEXTRO United Kingdom
DIALECTS United Kingdom
DIANOGAH United States
DICK HUDSON Italy
DIETRICH Argentina
DILUTE United States
DIRTY THREE Australia
DISCO INFERNO United Kingdom
DISPOSITIVOPERILANCIOBLIQUODIUNASFERETTA Italy
DO MAKE SAY THINK Canada
DON CABALLERO United States
DON'T LOOK BACK France
DON'T MESS WITH TEXAS Croatia
DORENA Sweden
DRESDA Italy
DRIVING SLOW MOTION United States
DROP ELECTRIC United States
EASTSTRIKEWEST United Kingdom
EAT THE SUN United States
EATEN BY TIGERS United Kingdom
THE ECHELON EFFECT United Kingdom
ECHOES AND SIGNALS Russia
EDGAR (ANIMO) Belgium
EF Sweden
EFRIM MANUEL MENUCK Canada
EFTERKLANG Denmark
EIMOG Italy
EKSI EKSO United States
ELIZABETH THE LAST Germany
ELLIS THE VACUUMCHILD Sweden
ELOHYMN United Kingdom
EMPHASIS Croatia
EMPTY SILOS ECHO WAR United States
EN PLEIN AIR Italy
ENABLERS United States
THE END OF THE OCEAN United States
ENGRAMA / [ENGRAMA] Multi-National
ENVY Japan
EPIGRAM Canada
EQUUS Switzerland
EROICA United States
ESMERINE Canada
EUPHORIA Japan
EVERSHAM Australia
EVERYTHING IS MADE IN CHINA Russia
THE EVPATORIA REPORT Switzerland
EXHAUST Canada
EXPIRATION OF A YOUNG MAN Egypt
EXPLOSIONS IN THE SKY United States
EXXASENS Spain
F.A.T. France
FALCONBROOK United States
FARAQUET United States
FAREWELL POETRY France
FATHER FIGURE United States
THE FIERCE & THE DEAD United Kingdom
FINLAND Norway
FJORD Romania
FLARES Germany
FLIES ARE SPIES FROM HELL United Kingdom
THE FLOWERS OF HELL United Kingdom
FLY PAN AM Canada
FLYING SAUCER ATTACK United Kingdom
FOBIA INC Poland
FOLLOWED BY GHOSTS United States
FOR A MINOR REFLECTION Iceland
FORM AND FATE United States
FORM OF AN ICE WAVE United States
FORSQUEAK Italy
FOXHOLE United States
FRAGILE China
FRAGMENTS OF AN EMPIRE Austria
FRENCH TEEN IDOL Italy
FRIDGE United Kingdom
FROM MONUMENT TO MASSES United States
FROMABOVEINTHEMOUNTAIN Spain
FUGUE United States
GANGER United Kingdom
GASTR DEL SOL United States
GASTRIC BAND United Kingdom
GEORGE DORN SCREAMS Poland
GHOSTS AND VODKA United States
GIANTS United States
GIARDINI DI MIRO Italy
GIFTS FROM ENOLA United States
GIRAFFES? GIRAFFES! United States
GLASGOW COMA SCALE Germany
GLASS AMERICA United States
GLASTON Switzerland
THE GLUTTON Norway
GO RUN DONKEY HOT! Croatia
GOD IS AN ASTRONAUT Ireland
GODSPEED YOU! BLACK EMPEROR Canada
GOONIES NEVER SAY DIE United Kingdom
LA GRAN PERDIDA DE ENERGIA Argentina
GRANDE DUKE United Kingdom
GREGOR SAMSA United States
HAIDA United Kingdom
THE HALIFAX PIER United States
HAMMOCK United States
HANGEDUP Canada
HANNIBAL MONTANA United States
HARBORING GHOSTS United States
HASHSHASHIN Australia
HAZARDS OF SWIMMING NAKED Australia
HEARTS OF ATLANTIS Russia
HELIOS United States
HELLA United States
HELSINGFORS United Kingdom
HENRY GALE United States
HER NAME IS CALLA United Kingdom
HERMITAGE Italy
HEROD LAYNE Brazil
HERON United States
HIBERNAL Australia
HITCHCOCK GO HOME! France
THE HOSEMOBILE United States
HOW COMES THE CONSTELLATIONS SHINE Portugal
HRSTA Canada
HUA LUN China
HUME United States
HUNGRIA Argentina
HUNGRY GHOSTS Australia
HURTMOLD Brazil
THE HYLOZOISTS Canada
HYPERTOAD Russia
I AM THE ARCHITECT Germany
I AM WAITING FOR YOU LAST SUMMER Russia
I HEAR SIRENS United States
I LIKE TRAINS United Kingdom
I WAS GIVEN FEET TO FOLLOW YOU United States
I WILL KILL CHITA Russia
IF THESE TREES COULD TALK United States
ILYDAEN Belgium
IMMANU EL Sweden
IN EACH HAND A CUTLASS Singapore
IN THE WAKE OF GIANTS United States
IN(OUR)FINITE SPACE Canada
INDIGNU Portugal
INFINITE THIRD United States
INTERNATIONAL KARATE Australia
IOSEB Sweden
JAKOB New Zealand
JAMBINAI Korea
JARDÍN DE LA CROIX Spain
JENIFEREVER Sweden
THE JOE K-PLAN Spain
JOHNNYTWENTYTHREE United States
JOVENABUELO Chile
JOY WANTS ETERNITY United States
JUNE OF 44 United States
JUNG PEOPLE Canada
JUNIUS United States
KAIRON; IRSE! Finland
KAKAOKAMKAMI Finland
KALON United States
KALOUV Brazil
KAMMERFLIMMER KOLLEKTIEF Germany
KATRE Turkey
KEPZELT VAROS Hungary
KERMIT Spain
KERRETTA New Zealand
KHARA Macedonia
KILLINGTON FALL United Kingdom
KIMIKA Canada
KINDER Peru
KITSCHY United States
KLEVER Russia
KOKOMO Germany
KOMAS MIDA Sweden
KOMATSU Finland
KONTAKTE United Kingdom
KOVLO Switzerland
KRAENE Germany
KRISTEN Poland
KROBAK Ukraine
KUATO Canada
KURS KAYA Russia
KWOON France
LA FLAG Portugal
LA MAR Venezuela
LABIRINTO Brazil
LABRADFORD United States
THE LADIES United States
LARSEN Italy
LAURA Australia
LAZONA Italy
LEBANON Israel
LEECH Switzerland
LET AIRPLANES CIRCLE OVERHEAD United Kingdom
LIAM Germany
LIGHTS & MOTION Sweden
LIGHTS AT SEA United States
LIGHTS OUT ASIA United States
LIKE BELLS United States
LIKE NOMADS United States
A LILY United Kingdom
LIMP Denmark
LINDA MARTINI Portugal
LIS ER STILLE (LISERSTILLE) Denmark
LITE Japan
LO' THERE DO I SEE MY BROTHER United States
LONG DISTANCE CALLING Germany
LOOSE LIPS SINK SHIPS United States
LORAINE United States
LOSS OF A CHILD United Kingdom
LOST IN THE RIOTS United Kingdom
LOST REVERIE Mexico
LOTTO Poland
LOVELY GIRLS ARE BLIND France
LOWERCASE NOISES United States
THE LUNA MOTH United States
LUNAR Croatia
LUZPARÍS Argentina
LYMBYC SYSTYM United States
MAGYAR POSSE Finland
MAN MOUNTAIN United States
MAN ZERO Croatia
MAPS United States
MAPS & ATLASES United States
MARRIAGES United States
MASERATI United States
MAYBESHEWILL United Kingdom
MEANWHILE BACK IN COMMUNIST RUSSIA United Kingdom
MEET ME IN ST. LOUIS United Kingdom
THE MERCURY PROGRAM United States
MESCALINER Netherlands
METALLIC TASTE OF BLOOD Multi-National
MIAOU Japan
MIDAS FALL United Kingdom
MIGALA Spain
MILHAVEN Germany
MINIMUS Portugal
MINIONTV United Kingdom
MIRROR Japan
MOGWAI United Kingdom
MŘN France
MONO Japan
MONOCEROS Mexico
THE MONROE TRANSFER United Kingdom
MOONCAKE Russia
MOONLIT SAILOR Sweden
MOTEK Belgium
MOTIONLESS United States
MOUNTAIN MEN ANONYMOUS United Kingdom
MOVING MOUNTAINS United States
MOVING STRUCTURES United States
MOYA Belarus
MR. MAPS Australia
MUDDY WORLD Japan
MUDY ON THE SAKUBON Japan
MUGGLE China
LA MUNECA DE SAL Spain
MUSTARD GAS AND ROSES (MGR) United States
MY BELOVED Denmark
MY DAD VS YOURS Canada
MY EDUCATION United States
NED HOPER Russia
NEGEV United Kingdom
NEIL ON IMPRESSION Italy
NEW CENTURY CLASSICS Poland
A NEW SILENT CORPORATION Italy
NEWSPAPERFLYHUNTING Poland
NICE WINGS ICARUS! Ukraine
NILE ON WAX Belgium
NO CLEAR MIND Greece
NO ONE WISHED TO SETTLE HERE Poland
NOMADS United States
NORDIC GIANTS United Kingdom
NOVA SCOTIA United Kingdom
NUITO Japan
NYA Argentina
O'BROTHER United States
OAQK Japan
OBLIGOD (PREVIOUSLY FOX TERRITORY) Czech Republic
OBSTACLES Denmark
OCEANIC Canada
ODDARRANG Finland
OH HIROSHIMA Sweden
OISEAUX - TEMPETE France
OKETO United States
OSHEAN Russia
OSTINATO United States
OVUM Japan
OXES United States
PAIK United States
PALM United States
PANTHER ATTACK United States
PARABSTRUSE United States
PARANOID VOID Japan
PAVING THE LABYRINTH South Africa
PAWA UP FIRST Canada
PEACH PIT Croatia
PELE United States
PENGUINSMEAT Russia
PERHAPS United States
PERTEGO Italy
PETROGRAD IN TRANSIT United States
PG. LOST Sweden
PHEWWHOO Japan
THE PHYSICS HOUSE BAND United Kingdom
PIGLET United States
THE PIRATE SHIP QUINTET United Kingdom
PLAIN FADE Finland
PLANETS United States
PLOKK Germany
PNEU France
POLVO United States
POLYPHIA United States
PORT-ROYAL Italy
PORTRAIT OF A DROWNED MAN United States
PREA HRADA Russia
PRECIOUS FATHERS Canada
PRESENCE OF SOUL Japan
PRETEND United States
PVT (PIVOT) Australia
QUALIA United Kingdom
O QUARTO FANTASMA Portugal
RADIO FREE ISAAC Croatia
RAISED BY SWANS Canada
READER United States
RED ROOM CINEMA United States
RED SPAROWES United States
THE REDNECK MANIFESTO Ireland
REGA Japan
REMINDER Sweden
RESERVE DE MARCHE Russia
THE RETALIATION FOR WHAT THEY HAVE DONE TO US United States
RETROVERTIGO Venezuela
RHONE United States
RIDING PÂNICO Portugal
RIDING THE DIPLODOC Russia
THE ROCK OF TRAVOLTA United Kingdom
ROCKET MINER United States
RODAN United States
ROSA PARKS Hungary
THE RUM DIARY United States
RUMAH SAKIT United States
EL RUPE Portugal
RUSSIAN CIRCLES United States
SADDLEBACK Australia
SADGAYERS United States
SALARYMAN United States
SALVATORE Norway
THE SAMUEL JACKSON FIVE Norway
SARAX Chile
THE SATELITE Peru
SAVAGE LUCY South Africa
SAVING THROW United States
SAWHORSE United States
SAXON SHORE United States
SCIENCE IN THE CAVE United States
SCRAPS OF TAPE Sweden
SDNMT Germany
THE SEA LIKE LEAD United States
SEAWORTHY Australia
SEMIOSIS Romania
SENNEN Netherlands
SEPTEMBER MALEVOLENCE Sweden
SEQUENCE PULSE Japan
SET FIRE TO FLAMES Canada
SGT. Japan
SHALABI EFFECT Canada
SHAPES STARS MAKE United States
A SHELTER IN THE DESERT Mexico
SHORA Switzerland
THE SHY TRAFFICKER United States
SICKOAKES Sweden
SIGUR RÓS Iceland
SILENCE KIT Russia
A SILVER MT. ZION Canada
SIOUM United States
THE SIX PARTS SEVEN United States
SKY ARCHITECTS Denmark
THE SLEEP DESIGN United States
SLEEPING PEOPLE United States
SLEEPMAKESWAVES Australia
SLEEPSTREAM Greece
SLOW SIX United States
(THE) SLOWEST RUNNER (IN ALL THE WORLD) United States
SOLKYRI Australia
SOMMA Russia
SONNA United States
SONNÖV Spain
SOULS VIBRATING IN THE UNIVERSE United Kingdom
SOUNDS LIKE THE END OF THE WORLD Poland
SOUVARIS United Kingdom
SOUVENIR'S YOUNG AMERICA United States
SPACES United States
SPARKLE IN GREY Italy
SPARROWS SWARM AND SING United States
SPEAKER GAIN TEARDROP Japan
SPURV Norway
STAR FK RADIUM United States
STARSCREAM United States
STATUA Philippines
STEARICA Italy
STERLING United States
STONED DIPLODOCUS France
STORMS Croatia
THE STRANGE DEATH OF LIBERAL ENGLAND United Kingdom
STUBBORN TINY LIGHTS VS CLUSTERING DARKNESS FOREVER OK United States
SUMMER FADES AWAY China
SUNLIGHT ASCENDING United States
SWANS United States
SWEEK Belgium
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