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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
4.28 | 66 ratings
CHILDREN OF GOD
Swans
4.32 | 43 ratings
FOR LONG TOMORROW
Toe
4.13 | 485 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.13 | 490 ratings
GTIS BYRJUN
Sigur Rs
4.14 | 173 ratings
ENTER
Russian Circles
4.26 | 40 ratings
THE COLLIBRO
Lis Er Stille (Liserstille)
4.17 | 55 ratings
SOUNDTRACKS FOR THE BLIND
Swans
4.07 | 363 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 | 118 ratings
ULVER & TROMS CHAMBER ORCHESTRA: MESSE I.X - VI.X
Ulver
4.24 | 28 ratings
BEAUTIFUL
About Tess
4.10 | 78 ratings
CODENAME: DUSTSUCKER
Bark Psychosis
4.17 | 39 ratings
PHANTASIA
Lite
4.11 | 67 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 | 224 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

INVENTIONS FOR THE NEW SEASON
Maserati
EMBERS
Up-C Down-C Left-C Right-C ABC + Start
RECORDING A TAPE THE COLOUR OF THE LIGHT
Bell Orchestre
TREE, SWALLOW, HOUSES
Maps & Atlases

Latest Post Rock/Math rock Music Reviews


 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
4.00 | 9 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
3.31 | 13 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
3.00 | 2 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.

 Kollaps Tradixionales by SILVER MT. ZION, A album cover Studio Album, 2010
3.62 | 32 ratings

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Kollaps Tradixionales
A Silver Mt. Zion Post Rock/Math rock

Review by Walkscore

4 stars Takes Longer but Grows on You.

I just submitted my review of their most recent album when I noticed this album gets weaker reviews than most of their other albums. In a way I can understand - this one takes longer for its merits to become clear and it is less likely to grab reviewers on first listen. However, after having listened to this album for six years now, I think this is up there with their best albums. Probably the reason for the lower scores is Efrim's singing is a bit more tortured than usual on this one, and his singing is right up from on the long opening piece "There is a Light". I have to admit not being as keen on this song when I first heard it, but it has really grown on me, and is today one of my favourite songs of theirs. There is a very similar feel to the long closer, "Piphany Rambler", which has Efrim singing (rambling indeed) all over this, with much of the same feel as "There is a Light". This one probably takes even longer to warm up to, but again, after first being a bit turned off by it, I (now) really like it. In the middle are some more great pieces. "I Built Myself a Metal Bird" is distorted hard-driving progressive punk (in fact, the tune is in 7/8 time!), but what I find particularly great about the middle part of this album is that the band is here improvising at length. "I Fed my Metal Bird the Wings of Other Metal Birds" is the improvised extension of the first Metal Bird track. Similarly the two Kollaps Tradixionales pieces include improvisation, and so while these are (for me) the weaker tracks on the album, they are still quite good and indeed essential to the listening experience of the album. I like this album a lot more than 13 Blues for Thirteen Moons, which is less well put together and less musical over all. I also like it better than Horses in the Sky, which has some great songs but for me is uneven. Similar to their most recent album (which I just reviewed), I find Kollaps to be consistently good all the way through.

Some albums are easy to 'get' on first or second listen. Some albums rise quickly at first, but then fall just as quickly after a few listens. This one started lower but kept rising, and only started to plateau after around 20 listens. Even though it is fairly long, I now always listen to this one all the way through - once it is on, I am drawn to hear it out. While most listeners will probably prefer their most recent album over this one on first listen (so, you should get that one first), I actually rate this one a tiny bit higher (after many years). How much you eventually like the album will depend on how much the opening and closing tracks grow on you. But I think it is well worth the time-effort. I give this 8.7 out of 10 on my 10-point scale, which also translates to high 4 PA stars.

 Fuck Off Get Free We Pour Light On Everything by SILVER MT. ZION, A album cover Studio Album, 2014
4.01 | 34 ratings

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Fuck Off Get Free We Pour Light On Everything
A Silver Mt. Zion Post Rock/Math rock

Review by Walkscore

4 stars Real, Heartfelt Music.

The most recent full album (2014) from A Silver Mt. Zion is excellent through-and-through. I love this band (and their cousins/alter-ego but larger Godspeed You Black Emperor-GYBE) for the integrity they bring to the act of making music. They make music they want to play, and say what they want to say, for its own sake damn the consequences. They also write out of passion and gut feeling, rather than (say) logic or aspiration, so the music is full of raw emotion and is personal. As a result, their music comes across as heartfelt, feeling, and authentic. When I listen to this, I am always reminded of a Roger Waters quip (from the Pompeii video) where he says that the only thing that matters in music (or any art) is whether it moves you. SMZ is moving and thought-provoking. While a number of commentators don't like Efrim's singing, I think it fits perfectly, and just adds to authenticity of their statement. The singing would in fact be considered poor judged against the criteria set out by vocal coaches and music schools - it is frequently out of tune, he can't reach some of the high notes he is trying to reach, his voice often cracks, etc - but to me this is beside the point. The point of this band is to be real, warts and all, and thus implicitly to challenge paradigms and stereotypes of what the experts might say music should be. But even disregarding this, I actually think the singing is very musical. Few would ever say Bob Dylan or Jimi Hendrix are good singers, but their vocals are perfect for the songs they sing, with a lot of unique character and instant recognizability, and they add to the music they accompany rather than take away from it. The same applies to Efrim's vocals, which add a personal element to the music that raises it even higher and makes me want to listen to it.

This album continues in the same mode as their previous album (Kollaps Tradixionales), in mixing a harder rockingier approach with progressive acoustic and ethereal soundscapes, generally in the service of longer but well-structured vocal-based tunes. The album begins with a hard-guitar driving punky piece that shifts part-way through into a longer statement which sets the musical and political tone for the album. There is a great shorter tune ("Take Away These Early Grave Blues") as well as two innovative and evocative short pieces ("Little Ones Run" and and "Rains Thru the Rooft"). However, the real gems here are the two longest pieces. The 14-minute "Austerity Blues" is a fantastic piece that begins on acoustic with Efrim's unique voice up high, then morphs into a truly original and musical political statement about the idea of (government, economic) austerity. It's counterpart is "What We Loved Was Not Enough", a beautiful dirty lament from the heart. Both of these are among SMZ's best compositions, and are the primary reason I keep wanting to put on this album. They have entered my list of essential music. But in fact the entire set flows very well and there is not a bad tune on the album. Silver Mt Zion is making exciting and original music that deserves to be listened to. They are my favourite still-touring Canadian band. On balance, I give this album 8.6 out of 10 on my 10-point scale, which is at the high end of 4 PA stars.

 The Pretty Little Lightning Paw  E.P. by SILVER MT. ZION, A album cover Singles/EPs/Fan Club/Promo, 2004
3.26 | 21 ratings

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The Pretty Little Lightning Paw E.P.
A Silver Mt. Zion Post Rock/Math rock

Review by Walkscore

3 stars Microphones in the Trees!

An excellent release from Silver Mt Zion, this EP contains four great tracks that do a good job at encapsulating their sound in the mid-2000s. Like their first album, this one contains no drummer, but instead uses repeated percussion sounds and quiet drum machines selectively in their place on some of the tracks. The title track is one of the more notable pieces, both here and of their repertoire in general. But it is "Microphones in the Trees" that is the real stand-out track. Built around a 5/4 bass/cello line that modulates between four chords in repeated pattern, it starts quiet and builds to a climax backed by pointed political lyrics and eery rising/sawing violins. The melody is highly memorable and the song will stick with you. Check out this EP version, and then check out the amazing 2008 live version from Lees Palace in Toronto (available on youtube). Just amazing. The other two tunes on this release are good, but not quite essential, making the overall rating of this one 7.7 out of 10, which is just shy of 4 PA stars. So, high 3 PA stars.

 This Is Our Punk-Rock, Thee Rusted Satellites Gather + Sing by SILVER MT. ZION, A album cover Studio Album, 2003
3.10 | 40 ratings

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This Is Our Punk-Rock, Thee Rusted Satellites Gather + Sing
A Silver Mt. Zion Post Rock/Math rock

Review by Walkscore

5 stars The Best SMZ Album!

This is not only their most progressive, but most musical and most emotional album. I am shocked by the lower scores for this here. This sees the band writing extended epics - one on each side of the double vinyl album - and in turn developing their musical ideas over longer overlapping themes with quieter, sensitive violin and guitar compositions, while still remaining true to their post-apocalyptic post-punk ethos. Each of the four pieces on this album is unique and distinct - not only from each other, but from the rest of their catalogue. Side 1 ("So Some Lonesome Corners So Many Flowers Bloom") features a rag-tag improvised choir and a slow-building crescendo that is very musical despite representing an almost free experiment. The song is very hypnotic and beautiful, almost in a Floydian way (indeed, sections of this piece actually remind me of (though very different from) Atom Heart Mother). Side 2 ("Babylon Was Built On Fire/Starsnostars") is to my mind SMZ's most musical song (not only on this album, but their entire catalogue). It begins with some amazing soundscapes, slowly introducing the main themes. The vocals are here are very effective, slowly building until each of the song's different themes are all being sung at once by different singers, bouncing off each other in a beautiful rag-tag counterpoint of overlapping melodies. Awesome music! Side 3 ("American Motor Over Smoldered Field") is another of SMZ's most musical songs ever. Containing some rare but beautiful (in a post-apocalyptic way!) vocal harmonies, the song remains subdued for the first 4.5 minutes, but then the drums and bass/cello/guitar pulses kick in. Check out the section that begins just before the 9 min mark which then continues to the end with the 'choir' singing the lyrical theme. So innovative yet deeply musical and emotional music. Side 4 ("Goodbye Desolate Railyard"), characterized by acoustic guitar finger-picking in a major key overlaid with piano and sunrise-violin lines, has a very American feel to it. Very happy-sad melancholy, shifting into musique concrette with thunderstorm and railway soundscapes, and then back to the main theme on acoustic guitar with the key lyric then repeated by the band. While I find the other three sides to be even stronger, this is a great closer for this great, original album. Of course, you have to like Efrim's/the bands' tortured, out of key singing, and this one will take a few listens before the underlying musicality emerges (you are probably not likely to get it on first listen). But this is definitely worth the effort. For me, this is the second-best album out of the entire GYBE/SMZ catalogue, after "Lift Yer Skinny Fists like Antennas to Heaven". I give this 9.0 out of 10 on my 10-point scale, which translates to 5 PA stars. One of the most original, authentic, innovative, musical and moving albums.

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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
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
APRICOT RAIL Australia
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
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