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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.

POST/MATH ROCK TEAM MEMBERS:
Zravkapt (Darryl)
Kelvin (LearsFool)
Audun(The Bearded Bard)
Angelmk (Angel)
The Truth (Tanner)
Austin (Horizons)
Jason (Second Life Syndrome)

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 | 59 ratings
RANDOM AVENGER
Magyar Posse
4.29 | 67 ratings
CHILDREN OF GOD
Swans
4.33 | 44 ratings
FOR LONG TOMORROW
Toe
4.13 | 493 ratings
ÁGÆTIS BYRJUN
Sigur Rós
4.13 | 487 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.14 | 173 ratings
ENTER
Russian Circles
4.26 | 40 ratings
THE COLLIBRO
Lis Er Stille (Liserstille)
4.18 | 57 ratings
SOUNDTRACKS FOR THE BLIND
Swans
4.07 | 365 ratings
F# A# ∞
Godspeed You! Black Emperor
4.58 | 12 ratings
DREAMS THAT COME A THING (PT I) - ...NEVER THOUGHT IT MAY SEEM...
Bosch's With You
4.31 | 23 ratings
KING NINE
Blueneck
4.08 | 121 ratings
ULVER & TROMSØ CHAMBER ORCHESTRA: MESSE I.X - VI.X
Ulver
4.24 | 28 ratings
BEAUTIFUL
About Tess
4.17 | 40 ratings
PHANTASIA
Lite
4.10 | 78 ratings
CODENAME: DUSTSUCKER
Bark Psychosis
4.10 | 68 ratings
THE EXTENT OF DAMAGE
Battlestations
4.34 | 18 ratings
HOW LONELY SITS THE CITY
Ascent Of Everest, The
4.07 | 93 ratings
ONE TIME FOR ALL TIME
65DaysOfStatic
4.05 | 125 ratings
IN A COLD EMBRACE
Battlestations
4.03 | 227 ratings
SHADOWS OF THE SUN
Ulver

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

EMBERS
Up-C Down-C Left-C Right-C ABC + Start
I AM YOUR BASTARD WINGS
Eksi Ekso
WIDOW
Day For Airstrikes
DATURAH
Daturah

Latest Post Rock/Math rock Music Reviews


 The Assassination of Julius Caesar by ULVER album cover Studio Album, 2017
3.98 | 19 ratings

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The Assassination of Julius Caesar
Ulver Post Rock/Math rock

Review by Warthur
Prog Reviewer

5 stars You'd think that by this point in their career, after all the twists and turns they've taken us down, the prospect of Ulver trying out a radically different genre from their former work would be utterly unsurprising - I mean, this is the same band which bounced from kvlt black metal to dark folk across their first two albums, after all.

And yet, somehow The Assassination of Julius Caesar manages to be another whiplash-inducing swerve from Ulver, shifting into the realm of honest-to-goodness synthpop. The secret to it, which makes it perhaps my favourite Ulver release ever, is that this is a style of gothy synthpop which feels distinctly Ulver, particularly in terms of their electronic and ambient works of their post-metal era.

After all, Dressed In Black on Blood Inside verged on the electro-gothic, so this isn't an evolution entirely without precedent, and whilst 80s nostalgia synthwave stuff is in vogue at the time, Ulver are able to artfully defy expectations by making the most 80s-tastic cut on here a tribute to 1969. Moreover, just because they've gone synthpop doesn't mean they've gone simplistic with it; there's complex, ornate passages here which reveal hidden depths to their sound, and I'd urge anyone turned off by the synthpop approach to at least give cuts like Rolling Stone or Coming Home a chance before writing off this album out of hand.

Is this what we wanted or expected from the next Ulver album? Almost certainly not, but by this point we'd be fools to expect Ulver to do what we want or expect - better to simply let them do their thing, and celebrate it when that results in creative masterstrokes like this.

 Scars Of The Midwest by BLUENECK album cover Studio Album, 2006
4.03 | 10 ratings

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Scars Of The Midwest
Blueneck Post Rock/Math rock

Review by The Crow
Prog Reviewer

4 stars Turn off the lights, lay in your bed, grab your headphones? And enjoy both the music and the noise!

The guys of Blueneck needed six long years to release their first full length album, but they managed to create a piece of art of sheer beauty, surprising maturity and new ideas for the controversially named post-rock. A true journey through a sea of sentiments and atmospheres.

Corin Dingley helped in the production of the album, and his experience is obvious when we hear how splendid this album sounds. For some listeners, this kind of music can be just a mixture between repetitive melodies and noises, but achieving the natural and pleasant symbiosis that we find in Scars of the Midwest is not easy. And I think that Dingley played a very important role.

The Hills Have Eyes is a noisy introduction, in the vein of some passages of Pink Floyd, which of course are one of the early influences for post-rock together with acts like King Crimson. Sadly, is not really interesting besides being an homage to Wes Craven. But Judas Judas shows the full instrumental potential and the ultra-melancholic, almost apocalyptic, style of this band, with an ominous piano melody, noisy background and a progressive crescendo started and ruled by the drums, a characteristic that will repeat itself many times in this album and in a lot of post-rock bands.

OIG is the first song with lyrics of the album. And it's maybe also my favorite. I find the Duncan Attwood vocal melodies superb and so are the cryptic and strange lyrics. "Listen dark and don't ses hidden down the bedo. This is like eternal and me like a fellow" This is the chorus of the song, and with the typical structure verse-chorus-verse-chorus Blueneck are defying the concept of post-rock, despite being a pure experimental and very dark sounding track with another intense crescendo which contains a beautiful bass line. An almost perfect composition!

Le:465 is another instrumental song with delicate vocal melodies which avoid all kind of leadership. The soft guitars, piano melody and bass playing remember me to Sigur Ros this time. And UB1 has obvious Brian Eno influences, with its minimalistic piano melody and very delicate layer of noise and synths.

Epiphany is another hit of the album and the second song with lyrics which start with a sort of gale in the background, giving way to another beautiful vocal work from Attwood and a fine final part with some kind of Hammond organ (or similar effect), really interesting. UB2 bring back the soft piano melody influenced by 70's new age, but in a faster rhythm this time and another whispered vocal melody. The song ends in the typical crescendo with piercing guitars and a complex bass line.

Amoc has the virtue to be the most positive and uplifting track of the album, and it's also one of the finest. The Sigur Ros from ( ) comes again to my mind with this song, which contains another crescendo with drums played with brushes which gives a curious jazz feeling to the track.

Yesterday's Forgotten is the third song with lyrics, and also the last. Very melancholic, but not so sad as other tracks of the album. The atmosphere that the band can recreate here remembers me to a tiny sunray filtered in a dense fog. Because this album is just that, sensations and landscapes. Great!

Conclusion: it's a pleasure to discover how a band with very diverse influences ranging between Pink Floyd, Brian Eno, Sigur Ros, Godspeed You! Black Emperor and many others had the ability to wisely mix all of them to create a unique album, which deserves to be delighted peacefully and free of prejudices.

Even if you did not like other post-rock or experimental rock bands, I recommend you give Scars of the Midwest a chance. It's a very sad but very beautiful album, with a splendid songwriting and great production and after repeated listening you'll notice that this band hides a lot of musicianship and talent inside.

Best Tracks: Judas Judas, OIG, Epiphany, Amoc.

My Rating: ****

 The Burning World by SWANS album cover Studio Album, 1989
3.42 | 22 ratings

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The Burning World
Swans Post Rock/Math rock

Review by Warthur
Prog Reviewer

4 stars Swans' The Burning World tends to get a bad rap, probably because it's a fairly straightforward and accessible- sounding album that lands between their early, abrasive post-punk releases (which had come to a culmination on Children of God) and White Light From the Mouth of Infinity, which tends to be held up as the best of Swans' goth rock period.

And yet, this intriguing mingling of gothic rock tropes and acoustic influences, which at points borders on neofolk, is really far more interesting than more dismissive critics have made it out to be. Yes, it's unusually mellow and accessible as far as Swans go, and yes, as a major label debut it was probably deliberately pitched that way, and yes, they probably hyped up the goth angle due to the success of their cover of Love Will Tear Us Apart by Joy Division, and yes, supposedly even Michael Gira dislikes this.

But despite all, this doesn't feel like a sell out to me. Perhaps that's because a genuine "sell out" tends to come across as cheap and tawdry in some respect, and that certainly isn't the case here - if anything, Swans give it their all and take the material and style seriously, and enjoy the aid of a range of intriguing guests, including Fred Frith and Material's Bill Laswell. It might not quite be Michael Gira's personal vision of what Swans should be, but it's a damn fine piece of music nonetheless.

 Rehumanizer by MASERATI album cover Studio Album, 2015
4.00 | 2 ratings

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Rehumanizer
Maserati Post Rock/Math rock

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars Having evolved from their initial Post Rock approach, U.S band Maserati present their fifth album, 2015's predominately instrumental `Ruhumanizer', where a Seventies-meets-Eighties fusion of restless spacerock, floating prog-electronic and reaching psychedelia sit alongside slinking electro-pop, new-wave, and just a touch of goth and new romantic sounds as well. The band describe themselves here as being `a supergroup comprised of Gary Numan, Cluster and Pink Floyd', but they could go even further and throw in the chugging heaviness of Hawkwind, and even a touch of the chiming guitars of Eighties poppers A Flock of Seagulls (wait, come back, it's all good!)!

After a slowly unfolding Tangerine Dream-like dreamy electronic build, ten minute instrumental space-rock opener `No Cave' kicks to up-tempo life with a relentless bashing beat, thick grumbling bass and shimmering electric guitar ripples that race for the heavens. `Living Cell' bounces with a smouldering dark electro-pop sheen, and there's just a hint of an Eighties goth tone to bassist Chris McNeal's drawled vocal, while first side closer `Montes Jura' clangs with tense pulsing sequencer trickles behind rising and falling synth caresses and no shortage of Eighties-flecked electric guitar slow-burn.

The flip side's `End of Man' is a skittering and frantic electro-popper powered by fuzzy electronic bursts over an incessant beat and Matt Cherry's monotone Kraftwerk-like vocoder-treated vocal, the piece growing more breathless and urgent as it progresses. The final two-part instrumental title track `Rehumanizer' is exceptionally groovy and energetic with constantly stuttering growling bass spasms and fuzzy distortion, and the big unceasing drumbeats and spacey ringing electric guitar chimes instantly remind of A Flock of Seagull's `Space Age Love Song/I Ran' and maybe even British prog-pop group Mansun!

Admittedly some of the instrumental tracks sound a little similar to eachother in a few spots, and there's perhaps also not a ton of depth to the pieces, but the album sounds so completely infectious and constantly energised that it's hard not to be get caught up in simply enjoying it. If you're curious about what a band that's a mix of the above mentioned artists might sound like, absolutely take the time to investigate `Rehumanizer'. Besides - sleek guitars, pulsing electronics and cool beats with a big retro sound (and not of the era you'd expect!) - what's not to love about this one?!

Four stars...and bonus points for one of the greatest LP sleeves in years!

 Mercury Fountain by PHYSICS HOUSE BAND, THE album cover Studio Album, 2017
4.00 | 1 ratings

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Mercury Fountain
The Physics House Band Post Rock/Math rock

Review by Tapfret
Collaborator Eclectic Prog Team

— First review of this album —
4 stars One of my favorite discoveries from the first half of 2017 is a trio from Channel Coast country in the UK, The Physics House Band. Having been floated to their Bandcamp page by links to recommendations of suggestions in a chain that went well beyond 6 degrees of separation, I took one look at the name and thought for sure I had landed on some thumpy techno/rave act that would send me running for the hills. Instead I was treated to their amazing preceding EP Horizons/Rapture. This year's offering is more of the same with a huge dose of maturation.

Mercury Fountain is largely advertised as a post/math experimental album. As a core idea it seems to fit with the sub-genre's conventions, an instrumental trio consisting of multi-instrumentalists. But the "experimental" tag is troublesome. Not because there is any lacking sense of adventure, quite the contrary. More because of the implication of the word experimental as mutually exclusive to deliberate intent. The Physics House Band are nowhere near floundering in their mission. So emphatic is their intent that when I originally looked at the total album time, 29 paltry minutes, I thought their was no way this was going to be enough, being only 2 minutes into the already enjoyable experience. But this is a musical experience that seems to distort time. A bizarre ride through what feels conventional at any given moment. One of those rare albums that takes the listeners through a series of changes with no recognizable unifying theme, that manages to present itself as a single cohesive piece.

Instrument wise the core is a heavy hitting odd-time bass (frequently distorted) and drum groove with frequent breaks of eclectic keyboard use. Everything from overdriven Rhodes sounds to ARP sounding sequences, Moog portamentos, and what is either an old Mellotron with stretched out tapes or a really good sample of one, the keys create a fantastic layer of textures. Guitars tend to be loud but overdriven rather than fully distorted. Lots of reverb on the solos which tend to not have a need for speed. Unlike the previous release the band employs guest musicians for added violin, flute and sax for the closing sections of the album. The package is complete, simultaneously hard and ethereally psychedelic. Tight but raw and energetic.

The Physics House Band engage in a genre that can easily become stale. They are in no danger of that with Mercury Fountain. Easily one of my favorite albums of the year and one I anticipate listening to for a long time. Quickly an essential part of my collection and highly recommended 4.5 stars.

 Born Into Trouble As The Sparks Fly Upwards by SILVER MT. ZION, A album cover Studio Album, 2001
3.53 | 65 ratings

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Born Into Trouble As The Sparks Fly Upwards
A Silver Mt. Zion Post Rock/Math rock

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

4 stars Efrim Menuck meant for his first release as A SILVER MT ZION to be a one-off tribute to his beloved dog Wanda who passed away while touring as a band member of Godspeed! You Black Emperor, but since it was met with such such positive enthusiasm, he decided to keep releasing new albums as a side project and therefore since this was indeed a new band instead of merely a solo tribute project he expanded the three full time members on the first release and doubled it to six (adding contrabass, cello and extra violins). There also remain three additional session musicians as on the debut with the addition of trumpet and trombone. Menuck also followed the changing-up-the-name game inspired by the great Sun Ra who would change his backing band name every few albums. So on this second release, BORN INTO TROUBLE AS THE SPARKS FLY UPWARD is credited to THEE SILVER MT ZION MEMORIAL ORCHESTRA & TRA-LA-LA BAND. Now isn't that a mouthful? Sometimes it begins with THE SILVER etc so i assume the THEE came about as a database issue.

Musically speaking BORN INTO TROUBLE etc continues the same kind of apocalyptic and mournful classical chamber music mixed with post-rock that suited the tribute to Wanda so well. The album contains eight sprawling tracks but none overly long that utilize the typical post-rock playbook and create riffs that build loops which are then accompanied by other instruments joining in until reaching a climax of some sort. For the most part the "rock" part of the equation doesn't play much of a part in the second album like the first as it is primarily built upon slow brooding violins accompanied by the other instruments merely adding disheartening atmospheric moods but on some tracks like "Take These Hands And Throw Them In The RIver," the pace picks up after the lugubrious intro and unlike most of the album has sung vocals (there are some spoken word parts as well). The heavier passages are very similar to the softer ones except that they have a much more frenetic delivery of the repetitive loops of violin riffs with a cacophonous din of accompanying sounds that make it sound more like the Godspeed! project. "C'monCOMEON" is probably the most rock oriented track as it has heavily distorted guitar and the most energetic percussive elements on the entire album.

Overall the music on BORN INTO TROUBLE AS THE SPARKS FLY UPWARD is much more diverse with all the different instrumental parts sounding more like the first Godspeed! album than the first SILVER MT ZION one but still retains a significant amount of the funeral march anthemic styles of the debut. The subject matter is supposedly inspired by the Book Of Job from the Bible with the title also purportedly taken from the scriptures. Menuck successfully found new ways to expand the debut's sound and even though many of these new ideas came directly from his Godspeed! You Black Emperor style, the album sounds completely distinct as it less hypnotic than Godspeed! releases and creates more of a classical chamber rock type of feel with more melodies that at times sound a tad Floydian in a space rock sort of way accompanied with lots of echo guitars. Add the heavy outbursts although sparse and the weird electronic atmospherics and voila! a satisfying near hour experience of musical bliss. No sophomore slump on this one. In fact i actually prefer listening to this second offering for it has a grander scope of moods and emotional explorations than the extremely misery focused vibe of the first.

 Ruination by KAIRON; IRSE! album cover Studio Album, 2017
3.89 | 10 ratings

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Ruination
Kairon; IRSE! Post Rock/Math rock

Review by Chalcobalt

4 stars A peculiarly termed finnish group on this recording playing distinguished eclectic, progressive rock with frequent psychedelic flavours associated with Anekdoten, Astra and obvious King Crimson influences. The two-folded 'Sinister Water' suite is most accessible and to me most appealing of the tracks, mainly due to the high ratio of melodic and inventive instrumental passages. I am not equally thrilled when the raw psychedelic electric guitar drives the more monotonous sections that dominates some of the other songs, but the occassional pacey drum rhythms, ingenious bass lines and more symphonic touch to Starik makes that one a favourite as well. I do intermittently enjoy the record and really appreciate that this type of groups keep experimenting and expanding the genre. The highlighted tracks surely render the album worth collecting despite a few dismissive moments.
 The Assassination of Julius Caesar by ULVER album cover Studio Album, 2017
3.98 | 19 ratings

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The Assassination of Julius Caesar
Ulver Post Rock/Math rock

Review by aapatsos
Special Collaborator Prog Metal and Heavy Prog Teams

3 stars ''Poor little sister, I hope you understand, the babe in the woods will be taken by a wolf''. And the wolf has spoken. ''Legends fail and houses fall'' but the wolf seems to be changing skin with every new release, like a ''Rolling Stone''. ''In the year of the Lord'' 2017 the wolf has decided to go pop, 80's synth and new-wave. Julius Caesar is assassinated, ''Nero lights up the night'' and ''tragedies repeat themselves in perfect circle'' throughout this sinister lyrical narrative.

Haunted, gothic, electronica, gospel (!) and trip-hop dances around the fire with a dose of 90's Tiamat and Dead Can Dance mashed with 80's Depeche Mode the Sisters of Mercy - nothing ''St. Teresa of Avila'' could do about such an assault of experimentation. This time the wolf abandons instrumentals and decides to sing extensively blending their voice in the hypnotic ambience of the album. Despite the dip in excitement in the last two tracks and the overall simplistic nature of the compositions which affects the lasting impression, Ulver will satisfy their ever-hungry-for-experimentation audience and add another stone to their hall-of-fame tower in progressive music.

Most murderous tunes: Rolling Stone, Angelus Novus, Transverberation

3.5 stars

 Field Recordings by FIERCE & THE DEAD, THE album cover Live, 2017
4.00 | 1 ratings

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Field Recordings
The Fierce & The Dead Post Rock/Math rock

Review by kev rowland
Special Collaborator Crossover Prog Team

— First review of this album —
4 stars

This may be only just a tad over twenty-eight minutes long, but is a blast and a delight from start to finish. The band have certainly grown a lot since I first came across them, and to perform instrumental complex music to a group of people who haven't come across them before takes balls. Taken from the band's incendiary set at last year's Ramblin' Man Festival, 'Field Recordings' captures the band in their element ? performing live on stage in front of a crowd who very quickly warm to them. The album features two previously unreleased songs which may (or may not!) feature on The Fierce And The Dead's third solo album, currently in production.

Sometimes the bands are cranking it hard, almost out of tune, and others it is incredible dual harmony guitars with Matt Stevens and Steve Cleaton knowing exactly where the other is going to be. Add to that the dynamite rhythm section of Ken Feazey (who has one of the dirtiest bass sounds you're ever likely to hear) and Stuart Marshall (who knows his way around all aspects of his kit), and here we have a band that are revelling in the experience. They close with "666?6", and the intricate, almost delicate, introduction provides no hint of the change in style that is to come as firstly the guitars blast, before the bass takes the lead and brings the band back into the melody. There is a back and forth style through this, but it is the guitar distortion that really makes it special, turning it into an epic monster, which really lifts the crowd as they segue into "Brainstorm" in honour of Hawkwind who are headlining the festival.

My only complaint is that this is just too damn short! But it has certainly whetted my appetite for the next full release, and if you have never come across these guys before then here is a great place to start.

 Stories by SOUNDS LIKE THE END OF THE WORLD album cover Studio Album, 2017
3.05 | 3 ratings

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Stories
Sounds Like The End Of The World Post Rock/Math rock

Review by kev rowland
Special Collaborator Crossover Prog Team

3 stars Sounds Like The End Of The World are an instrumental Polish post rock band formed in 2012, and this is their second album, released in March this year. Mind you, their website doesn't contain any updates since 2015 so the album isn't listed there, there are no details on who played on it on the Bandcamp page, and the press release only provides the names and details for four musicians, none of whom play keyboards, but there are obviously keyboards present. According to Bandcamp this was recorded live in the studio, so now you all know everything I do about this.

There is a feeling of togetherness, so I'm no surprised that it was recorded live, as they are all feeding off each other. There is plenty of angst and rawness as they strive on dischord and disharmony, but there are also moments where they are more reflective in nature with some definite Pink Floyd elements. The highlight of the album is undoubtedly 'Obsession', where guest violinist Jan Gałach can really let rip. This is the only song on which he makes an appearance, and if I had any say in proceedings then I would make him a full- time member of the band as his roughness and stridency takes the music to another level. While not totally essential, this is still an album that is well worth hearing and is interesting.

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Post Rock/Math rock bands/artists list

Bands/Artists Country
*ANCIENTS Multi-National
[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 SHELTER IN THE DESERT Mexico
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
ALRIGHT THE CAPTAIN United Kingdom
AMBIENTE Mexico
THE AMERICAN DOLLAR United States
AN ORDINARY VISION Italy
ANA NEVER Serbia
ANALECTA United States
ANATHEME France
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
THE ANTONI TASHEV PROJECT Bulgaria
APRICOT RAIL Australia
APRIL RAIN Russia
ARBOR LIGHTS United Kingdom
ARCTIC PLATEAU Italy
ARROWAY France
ART.FICIAL Brazil
AS THE POETS AFFIRM Canada
THE ASCENT OF EVEREST United States
ASTRO SONIC Norway
ATTILION Indonesia
AUDREY FALL Latvia
AUSTIN TV Mexico
AUTO!AUTOMATIC!! United States
AUTOMASSAGE Slovenia
AUTUMN MOONLIGHT Argentina
THE AUTUMN PROJECT United States
BAFFODORO Italy
BALMORHEA United States
THE BALTIC SEA United States
BANGLADEAFY United States
BARK PSYCHOSIS United Kingdom
BATTLES United States
BATTLESTATIONS Belgium
BEAST PLEASE BE STILL United States
BEATEN BY THEM Multi-National
BECAUSE OF GHOSTS Australia
BELEGOST United States
BELL ORCHESTRE Canada
BELOW THE SEA Canada
BELYE FLAGI ZAZHIGAYTE MEDLENNO Russia
BESIDES Poland
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
BLACK FOREST/BLACK SEA United States
BLACKPAPERPLANES Belarus
BLUEBRIDGE QUARTET Sweden
BLUENECK United Kingdom
THE BODY LOVERS 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
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
CHON United States
CHOOSE YOUR OWN ADVENTURE United States
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DIRTY THREE Australia
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SGT. Japan
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SLOW SIX United States
(THE) SLOWEST RUNNER (IN ALL THE WORLD) United States
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THIS WILL DESTROY YOU United States
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TO DESTROY A CITY United States
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WE'RE FROM JAPAN United States
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WHYOCEANS China
THE WINCHESTER CLUB United Kingdom
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WORLD'S END GIRLFRIEND Japan
XMENOSUNO Mexico
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YOU ALREADY KNOW United Kingdom
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