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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 are: (9/10/2023)
Gordy
Cristi
Sebastian (Kempokid)
Brendan (Necrotica)

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 | 1785 ratings
LATERALUS
Tool
4.22 | 765 ratings
PART THE SECOND
Maudlin Of The Well
4.39 | 72 ratings
KHAOOOHS & KON-FUS-ION
Pan.Thy.Monium
4.25 | 185 ratings
IMAGINARY SONICSCAPE
Sigh
4.19 | 461 ratings
THE MANTLE
Agalloch
4.17 | 776 ratings
JUDGEMENT
Anathema
4.17 | 724 ratings
TERRIA
Townsend, Devin
4.19 | 363 ratings
BATH
Maudlin Of The Well
4.17 | 384 ratings
LEAVING YOUR BODY MAP
Maudlin Of The Well
4.25 | 119 ratings
PRECAMBRIAN
Ocean, The
4.54 | 33 ratings
ALBA - LES OMBRES ERRANTES
Hypno5e
4.13 | 651 ratings
ZILTOID THE OMNISCIENT
Townsend, Devin
4.16 | 226 ratings
THROUGH SILVER IN BLOOD
Neurosis
4.12 | 390 ratings
LIGHT OF DAY, DAY OF DARKNESS
Green Carnation
4.16 | 178 ratings
SOMEWHERE ALONG THE HIGHWAY
Cult Of Luna
4.20 | 105 ratings
SOULS AT ZERO
Neurosis
4.35 | 46 ratings
FEA JUR
Lye By Mistake
4.11 | 296 ratings
PANOPTICON
Isis
4.07 | 1094 ratings
ÆNIMA
Tool
4.10 | 287 ratings
IN A FLESH AQUARIUM
Unexpect
4.20 | 90 ratings
WRITTEN IN WATERS
Ved Buens Ende

Experimental/Post Metal overlooked and obscure gems albums new


Random 3 (reload page for new list) | As selected by the Experimental/Post Metal experts team

WEATHER
Neuma
TRANSMUTATIONS
Yakuza
AND BLOOD WAS PASSION
Zebulon Pike

Latest Experimental/Post Metal Music Reviews


 Black Market Enlightenment by ANTIMATTER album cover Studio Album, 2018
3.50 | 71 ratings

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Black Market Enlightenment
Antimatter Experimental/Post Metal

Review by A Crimson Mellotron
Prog Reviewer

3 stars Antimatter is one of the uncanny and unusual art rock projects that crosses the progressive territory, and the band's seventh studio album explores a lot of the progressive tendencies that have come to define their latter day works. Originally a two-piece, Antimatter has been the creative outlet of main songwriter, multi-instrumentalist, vocalist and producer Mick Moss since 2006, and 'Black Market Enlightenment' from 2018 is the fourth album overall to be written and recorded solely by Moss. The band's music is defined by a brooding, melancholic feel and a staggering darkness that comes through the idiosyncratic voice of Mick Moss, whose lyrics also reflect upon a somewhat gothic aesthetic. Heavy, hefty, but often atmospheric guitars as well as washes of gloomy synths and multiple effects dominate the sonic ground of Antimatter's albums, and 'Black Market Enlightenment' is no exception; it is an ominous and creative work that deals with Moss' substance abuse, making the album very personal and intimate, all while the music remains obliquely progressive.

Among the nine tracks on the album there are some exceptional and exciting moments as well as a few more forgettable ones - the opening track 'The Third Arm', for example, impresses with its fiery grief, gloomy atmosphere and almost post-rock aesthetic, making it one of the more accessible songs on the album, while a track like 'Sanctification' can get lost amongst the layers of moody ambience, meaning that some of the songs on the album lack the memorable, addictive hook. 'Wish I Was Here' has heavy atmospheric undertones and a feel of existential desperation in the lyrics that suits the music quite well. 'This Is Not Utopia' and 'Partners in Crime' are dark, perverse, and utilizing a lot of electronica, definitely two of the more compelling song off the album. The oblique heaviness and the cathartic build-ups are very finely done, and 'Existential' is another good example, also introducing a touch of world music to the mix. 'Liquid Light' closes off the album in an effective way, especially because of the glorious vocal performance of Moss. The entirety of 'Black Market Enlightenment' follows a similar mood as well as similar rhythmic patterns, which takes away someof the variety of the music - however, the album does have several really interesting moments that are worth listening to. The instrumental build-ups and the vocal work are the main strengths of this particular record.

 The Spin by MESSA album cover Studio Album, 2025
3.94 | 25 ratings

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The Spin
Messa Experimental/Post Metal

Review by alainPP

4 stars 1. Void Meridian for this dark wave pulsar synth, the fat guitar riff reminiscent of those of ROGUE MALE; Sara captivates with her timbre, reminiscent of THE CURE or KILLING JOKE. Alberto and Marco's guitar solo sets the place on fire before the tune becomes monotonous again; a different sound that puts me on the lookout. 2. At Races draws on the work of THE GATHERING from the beginning, languid and addictive. An intoxicating post-punk sound with the heavy, metronomic rhythm; a whiff of SIOUXSIE in over-the-top mode; an addictive tune, again, it's starting to interest me strongly, a dark, haunting, post-metal wave track, singular and unique, I'm glued to it. 3. Fire on the Roof returns to the basic compulsive synth, bringing the strong, heavy rhythm with this dragging riff. A massive energy, a violent yet contained sound, hard, doomy for the heavy side; the violent, unstructured, dynamite solo with Rocco's machine-gun drum finale is strong, but there's creative energy. 4. Immolation for the electric piano arpeggio with Sara's gently melting bluesy voice; the ballad that suddenly drifts after a final piano stroke; a solo that comes out of nowhere, which struck me at Hellfest, Alberto's solo, astonishing because it's unique; the finale is intended to be calm and lets a few drops of prog blood seep through.

5. The Dress for the cyclothymic explosion from the start, a stoner, latent, ambient sound that lodges between the ears; there's something animal, something compulsive; a Floydian air, a Salvatiere air on this hidden crescendo. Halfway through, there's a break with the crashing bass, its reverberating sound, and then, and then, this trumpet that takes us with the guitar on a jazzy-western slope, a thriller film with the appropriate raincoat; the end with the return of contained violence, but the progressive atmosphere is definitely there. 6. Reveal continues to walk on the lands of Louisiana with these archaic cowboy notes; the guitar searches for its range and it's off for a musical wave full of devastating fury; a frantic blast beat, the sulfate bass, and Sara tames it all with her bewitching voice; a short break that searches for itself and the thunderous solo, in the style of incendiary BLACK SABBATH; the contained frenzy and Sara's screaming assassin vocal that lets loose, slaps. 7. Thicker Blood with the return of dark synth à la LACRIMOSA and a hint of SISTERS OF MERCY; crystalline guitar arpeggio and fragmented Sara, bleeding her words; the explosion allows to move on to a more constructive monolithic mode looking at the origin of black quite simply; the rise can be guessed, Sara imitating Amy overwhelming before her death in complete darkness; doom progressing with again, but what a pleasure, again a gripping, breathtaking guitar solo; a mantra appears, the voice confronts the heavy rhythm, again this invasive sound of ROGUE MALE, what a good memory; illuminating heaviness, musical climate also reminiscent of SAXON, a crescendic title which swells, and what I feared/hoped for finally arrives, a howled deluge of vocal hordes having the cathartic effect of freezing our ears. The silence is there again in the album, staggering.

 Cognitive by SOEN album cover Studio Album, 2012
3.75 | 126 ratings

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Cognitive
Soen Experimental/Post Metal

Review by UMUR
Special Collaborator Honorary Collaborator

3 stars "Cognitive" is the debut full-length studio album by multi-national progressive rock/metal act Soen. The album was released through Spinefarm Records in February 2012. Soen was formed in 2004 by drummer Martin Lopez (Opeth) and guitarist Kim Platbarzdi, but it wasn´t until 2010 when lead vocalist Joel Ekelöf (Willowtree) joined, that the band became active. The quartet lineup is completed by the omnipresent bassist Steve Digiorgio (Death, Testament, Iced Earth, Sadus..etc.).

Stylistically the material on "Cognitive" is in a melodic, melancholic, and rhythmically heavy and syncopated progressive rock/metal style. Tool/A Perfect Circle are the most obvious influences and sometimes also a bit too obvious. Soen are a less experimental act though and most tracks are vers/chorus structured and relatively easy to follow. The big soaring choruses are one of the greatest assets of "Cognitive" along with the emotional singing and strong voice of Ekelöf. With the instrumentalists involved it´s no surprise that the instrumental part of the music is well performed too. It takes a few listen to remember the tracks and not all of them stick, but I have to mention closing track "Savia" because of the absolutely stunning melody lines. They are incredibly well constructed and performed.

"Cognitive" features a professional, detailed, and well sounding production job and upon conclusion it´s a promising first release by Soen. I think they wear their influences a bit too much on their sleeves on this album, and it does slightly drag my rating down, but in all other departments "Cognitive" is a high quality release and a 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

 The Spin by MESSA album cover Studio Album, 2025
3.94 | 25 ratings

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The Spin
Messa Experimental/Post Metal

Review by Finnforest
Special Collaborator Honorary Collaborator

4 stars Powerful, glossy-dark, yet accessible

Messa, an Italian art metal band, have been quite active studio and live since 2014. They are one of the coolest and most diverse metal acts I've heard of late. They defy easy classifications. There are metal elements, but there are also crossover/heavy, pop, and some goth tendencies making the whole affair quite eclectic. The band thinks of their sound as "scarlet doom," so we'll go with that. Powerful and female-fronted vocally, they will leave an impression on you. And I'll start with that. Sara Bianchin is one of those vocalists who, from the first line of the song, will snap you to attention. She has the power and command of Floor Jansen but with the caramelly allure of Karin Bergquist. Similarly, the guitars, bass, and drums are all inventive and full of kickass.

Their sound is difficult for me to describe, but it is a tactile blend of metals with more intent and structure than the kind of aimless drift that accompanies some post-bands. The mood can sometimes be quite dark, but unlike other bands where the music wallows with downbeat lyrical content, these guys will often go for some catchy accessibility, so there's this great contrast. I was reminded a few times of System of a Down but without that hyper-manic thing that SOAD does; I mean the comparison insomuch as the way that SOAD can take the heaviest crushing stuff and turn it on a dime into something catchy with a memorable melody. Messa has that ability as well, and they also offer the occasional change-up to softer, more beautiful passages. This is an interesting and impressive album and one of the coolest I've heard from 2025.

 In The Absence Of Truth by ISIS album cover Studio Album, 2006
3.76 | 191 ratings

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In The Absence Of Truth
Isis Experimental/Post Metal

Review by Hector Enrique
Prog Reviewer

4 stars Less aggressive and raw than the well-known and successful "Oceanic" and "Panopticon", Isis adds in "In the Absence of Truth" (2006), their fourth album, more elaborate and melodically complex structures, almost as a natural consequence of their musical maturity, and which has in "The House of Leaves" (2000) by the New York writer Mark Danielewski, a novel that combines terror, satire and love in unconventional narrative dimensions, its inspirational reference and thematic axis.

There is thus a special attention from the band to expand their sonic universe and add some nuances with the more prominent percussive contribution of Aaron Harris and the incorporation of clean vocals in the generally guttural ranges of Aaron Turner accompanying the over-saturated guitar riffs of Mike Gallagher, as in the opening and soaring "Wrists Of Kings", also with Jeff Caxide's most notorious bass lines in the choking and ferocious "Not In Rivers, But In Drops" and in the anguished melancholy of "Dulcinea", whose stormy final stretch with the full band is surely one of the album's best.

True to their bleak experimental streak, the Bostonians also generate toxic and thick specters of sound to envelop Gallagher's distorted guitars on the extended intro of "Over Root And Thorn" and the hypnotic, watery "1000 Shards", and then digress, from Bryant Cliff Meyer's electronic contributions, into the ethereal cosmic atmospheres of the instrumentals "All Out Of Time, All Into Space" and "Firdous E Bareen", sheltering in between the intriguing and disturbing "Holy Tears".

And finally the anxious "Garden of Light", an intricate construction in which again Harris' hyperactive percussion guides with great fluidity all the melody, and Gallagher's guitar riffs and Turner's raspy voice tension the development to the maximum leading it to an overflowing instrumental climax and its progressive dilution in an atmosphere of deep affliction until its conclusion.

"In the Absence of Truth" is a very good album, which on its release was critically acclaimed and commercially lived up to the achievements of Isis' previous works.

3.5/4 estrellas

 Oceanic by ISIS album cover Studio Album, 2002
4.06 | 229 ratings

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Oceanic
Isis Experimental/Post Metal

Review by Hector Enrique
Prog Reviewer

4 stars Moving away from the metal and hardcore punk sonorities that prevailed in their debut album "Celestial" in 2000 and influenced by bands like Neurosis, Melvins or Godflesh, from which they pick up sonic references, Isis delves into more abstract territories and generous atmospheric displays very emblematic of Post Rock, to release "Oceanic" (2002), the second album of their discography.

The Bostonians, guided by the guttural and dosed voice of their leader Aaron Turner, privilege in "Oceanic" the construction of dilated and depressive landscapes that are broken by the gradual irruption of distorted and dark guitar riffs by Turner himself and Mike Gallagher, very present in the opening "The Beginning and the End", in the thick half-time of the intriguing "The Other", in the metal power of "False Light" and in the mysterious and disturbing "Carry".

On the other hand, the ambient experimentation reaches an enigmatic, tense momentum with the watery, brief "-" and "Maritime", and the industrial, lingering "Weight", a trio of instrumental tracks (Maria Christopher's subtle, whispery vocals add an interesting tinge of sensitivity to "Weight") linked by Bryant Clifford Meyer's electronic bridges and Aaron Harris's raw, boxy percussion.

And combining a dense atmospheric melancholy with stormy developments marked by oversaturated guitars and Turner's harsh and anguished vocal discharges, "From Sinking" and "Hym", possibly the best track on the album, reaffirm the parsimoniously demolishing character of "Oceanic", one of Isis' best works and a Post Metal reference.

4 stars

 In Thrall to Heresy by SHEPHERDS OF CASSINI album cover Studio Album, 2025
3.90 | 12 ratings

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In Thrall to Heresy
Shepherds Of Cassini Experimental/Post Metal

Review by kev rowland
Special Collaborator Prog Reviewer / Special Collaborator

4 stars I was at a gig one night, hanging around during the soundcheck, when I recognised one of the musicians, Felix Lun (violin). I hadn't seen Felix in years, back when he was a member of Shepherds of Cassini, a band I had met a few times and really loved. He remembered me and we chatted about my old reviews, and later that night I also bumped into drummer Omar Al-Hashimi. I often saw multi-instrumentalist Brendan Zwaan (vocals, guitar, keyboards) around the scene or in the studio, so I was asked what had happened with Shepherds, with Omar telling me that bassist Vitesh Bava had moved to Australia which was the reason why they had been dormant, but that he had just returned to NZ so who knew what the future might hold?

I must admit I never expected a reformation to happen, but the original quartet are now back with their third album, only ten years on from the last one. I often used to see Brendan playing when he was also a member of Mice on Stilts playing keyboards, but when SoC played live he was on guitar and the band were a much heavier entity altogether and that is very much the case again here. They have again brought in David Rhodes to produce the album, and he is very much in his element with the manic drumming being captured to perfection and clear delineation between the instruments. Although they are a powering metallic entity they are much more than that with Felix using his electric violin to drive melody in a frenetic fashion, a bass which may be tied in with the guitars or moving elsewhere, straight 4/4 or weird time signatures while there are also Middle Eastern influences.

One never knows where the music is going to take us and while it is always incredibly metallic, the prog stylings are there for all to see, and it is difficult in some ways for me to think that the last time I saw Brendan he was in Red Room Studios adding delicate piano to singer/songwriter Lee Martin's latest album. One can only hope that SoC can be get the recognition they s richly deserve outside New Zealand as we are a tiny country at the end of the world and there is no doubt that music as exciting, enthralling and all-encompassing as this needs to be heard very widely indeed.

 Neuroteque by JUGGERNAUT album cover Studio Album, 2019
4.00 | 1 ratings

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Neuroteque
Juggernaut Experimental/Post Metal

Review by Finnforest
Special Collaborator Honorary Collaborator

— First review of this album —
4 stars Eclectic Instrumental Rock

Juggernaut is a progressive metal band from Rome featuring Luigi Farina, Andrea Carletti, Roberto Cippitelli, and Matteo D'Amicis. They have been around since 2006, and Neuroteque is their third release. While I have only had a cursory review of their first two albums, it was enough for me to discern that Neuroteque is quite a significant leap forward in their sound. They also made the bold move to drop all vocals this time and go full-on instrumental, a choice that I feel works well for them. Their bio on our site says, "Juggernaut plays a cinematic and melodic post-metal and sometimes experimental brand of progressive rock that emphasizes heavy riffing with hints of dark jazz with compositions based off of building tension, suspense and release." That's a good one-line summation that I'll use as a starting point.

First off, everything about the presentation of this album is cool and considered. Unlike the somewhat haphazard feel of the previous stuff, Neuroteque really pulls their vision together into a focused, futuristic-sounding, "thinking man's" post-metal. All of those small details have been given attention, from the cover art and color palette to the cool one-word song titles. Who cares about that stuff? you might be thinking. When you hear the music, I think you'll agree it adds to the enjoyment. Their sound is truly expertly crafted. On paper, a band trying to meld together metal, progressive, fusion, psych/space, post/math rock (and sitar!) into a full-length instrumental album could easily be a disaster if not done with discipline and vision. I think they nailed it. And it was refreshing to hear metal pulled in a futuristic, sci-fi direction without symphonic bombast, excessive density, or other "extreme" tendencies. It was also refreshing to sense a hopeful vibe at times instead of the too-oft dark and foreboding inherent to many metal bands.

The album flies by like one 42-minute suite with seven unique chapters, an exotic listening experience. Traditional metal here feels a barely recognizable presence, just enough heaviness used as a starting reference. From there I hear bits and pieces of Tool and O.R.k. (sans vocals), Thrak era Crimson, Durutti Column, space rock, post-rock, and math rock. But I hesitate to evoke those other bands because this is completely original. For a "metal" band, there is at times a very light touch to their playing: agile, spacey electronic, acoustic, and dreamy sections are offered. The playing creeps around a bit, down long hallways, spidery, trying to create tension before an injection of power and melody rewards you. Hand and non-electric instruments lie at the edges. All genre tags aside, at the end of the day, this is just really great instrumental rock music.

While jazz-fusion bands do it all the time, it's cool to hear a metal band with enough confidence to drop all vocals. I wish more bands would drop vocals, use wordless vocals, or just employ them more sparingly. This album proves you don't need vocals to be compelling. Last but not least, this album has great production and dynamics, pleasing on the ear. Awesome album.

 Devin Townsend Project: Ki by TOWNSEND, DEVIN album cover Studio Album, 2009
3.82 | 351 ratings

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Devin Townsend Project: Ki
Devin Townsend Experimental/Post Metal

Review by A Crimson Mellotron
Prog Reviewer

4 stars The first release of the Devin Townsend Project series is 2009's 'Ki', an album bound by the themes of reincarnation, balance, control, and to an extent, restraint; a strong and subtle work announcing a new phase in the creative evolution of Canadian multi-instrumentalist and composer Devin Townsend. Initially driven by a desire to release four albums under this project's name, with each having a distinct lineup of musicians in order to represent the distinct characteristics of each release, 'Ki' features quite the interesting roster of collaborators in the face of Duris Maxwell behind the drum kit, Jean Savoie on the bass guitar, and Dave Young handling all the keyboards and pianos, together with a few more additional vocalists, both male and female. Amidst all this, Devin Townsend's role as a creative director and producer of the album sees him working in a more "down-to-earth" environment, utilizing a more organic, raw and punchy production style, in contrast to his usual "wall of sound" sonic presentation.

The music itself is sufficiently experimental and unpredictable, with a lot of acoustic guitars, clean singing, a sturdy and "melodically angry" rhythm section, and a lot of programming, effects and ambient soundscapes, which makes 'Ki' equally impressive, dynamic, and controlled. It seems like this album is driven by the gradual release of power, with most of it written in standard C tuning with the exception of just a couple of songs. This album serves as therapy for its creator, and as much as it feels like healing, vulnerable, and angry, it also exudes a musical sophistication that one could get on a Devin Townsend album. Stylistically, we might be speaking of an experimental rock album with a lot of progressive, jazz, blues and grunge influences, all mixed up rather interestingly to give off a Porcupine Tree-ish feel. With its thirteen tracks, there is a lot to unpack here, but with the subtle intensity of the music, 'Ki' remains one of the most unusual and most rewarding listening experiences of this entire catalogue. Powerhouse entries like 'Disruptr', 'Gato', 'Heaven Send' and 'Trainfire' are counterbalanced by the soothing textures of 'Coast', 'Terminal', 'Winter' and the 7-minute title track, all on an album that is nothing short of excellent and mesmerizing.

 On the Eve of a Goodbye by RETICENT, THE album cover Studio Album, 2016
4.48 | 12 ratings

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On the Eve of a Goodbye
The Reticent Experimental/Post Metal

Review by Prog/Land

5 stars This is quite possibly one of the most beautiful albums I have ever listened to. It had me in tears by the end. It tackles an incredibly dark subject with grace, allowing everyone to connect with the depressing material. It perfectly weaves super heavy moments with beautiful vocals and instrumentation. This album stands as proof that concept albums are an incredibly effective way to tell a story. I highly recommend everyone to listen to this with the lyrics pulled up, and see if you won't start crying.

I think my only nitpick would be that a lot of the riffs don't really stand out too much, they kind of just add more texture. This isn't to say that the music isn't great, it just isn't incredibly iconic. If you played me some of these riffs and told me Opeth wrote it I would probably believe you. Still, I think this doesn't take away from the overall experience at all. It's a crime how underrated these guys are.

9/10

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Experimental/Post Metal bands/artists list

Bands/Artists Country
*SHELS United States
0N0 Slovakia
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
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