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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

4.35 | 56 ratings
RANDOM AVENGER
Magyar Posse
4.28 | 66 ratings
CHILDREN OF GOD
Swans
4.33 | 41 ratings
FOR LONG TOMORROW
Toe
4.13 | 486 ratings
ÁGÆTIS BYRJUN
Sigur Rós
4.13 | 479 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.14 | 172 ratings
ENTER
Russian Circles
4.28 | 39 ratings
THE COLLIBRO
Lis Er Stille (Liserstille)
4.07 | 358 ratings
F# A# ∞
Godspeed You! Black Emperor
4.17 | 54 ratings
SOUNDTRACKS FOR THE BLIND
Swans
4.58 | 12 ratings
DREAMS THAT COME A THING (PT I) - ...NEVER THOUGHT IT MAY SEEM...
Bosch's With You
4.32 | 22 ratings
KING NINE
Blueneck
4.26 | 26 ratings
AFTER THE WINTER
Hibernal
4.24 | 28 ratings
BEAUTIFUL
About Tess
4.17 | 39 ratings
PHANTASIA
Lite
4.07 | 115 ratings
ULVER & TROMSØ CHAMBER ORCHESTRA: MESSE I.X - VI.X
Ulver
4.11 | 67 ratings
THE EXTENT OF DAMAGE
Battlestations
4.09 | 76 ratings
CODENAME: DUSTSUCKER
Bark Psychosis
4.34 | 18 ratings
HOW LONELY SITS THE CITY
Ascent Of Everest, The
4.07 | 93 ratings
ONE TIME FOR ALL TIME
65DaysOfStatic
4.06 | 124 ratings
IN A COLD EMBRACE
Battlestations

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

TREE, SWALLOW, HOUSES
Maps & Atlases
JINX
Kammerflimmer Kollektief
EMBERS
Up-C Down-C Left-C Right-C ABC + Start
ACTUAL MUSIC QUARTET RSM
Actual Music Quartet RSM

Latest Post Rock/Math rock Music Reviews


 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.

 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.

 The Wilderness by EXPLOSIONS IN THE SKY album cover Studio Album, 2016
2.44 | 15 ratings

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The Wilderness
Explosions In The Sky Post Rock/Math rock

Review by Walkscore

2 stars The new album from Explosions in the Sky is disappointing for a number of reasons. First of all, on this album they jettison the instrumentation that made them so unique (3 electric guitars/sometimes bass, and drums) and the intricate counterpoint of the guitarists playing repeated lines up the register that made albums like 'The Earth is Not a Dead Cold Place' (TEINACDP) so memorable, and which set the pattern for what I think of as the EITS 'sound' (that album stands for me as their ultimate musical statement. Most of that is gone here. Instead, we have a lot of washy synthesizers, with some repeated patterns but much more simplistic compositions, and often electronic-sounding drums. Secondly, the dynamics have been significantly reduced - no more going from quiet as a whisper to full-tilt crush like on their earlier albums. Instead, we have a bunch of mellow snapshots that either remain at a constant volume, or start quiet and build only slightly. Finally, the compositions are not memorable. This is background elevator music. I think the time they have spent composing for movie soundtracks has affected their judgement on this release. Indeed, this could easily be a collection of movie soundtrack outtakes being presented as new band material. On the whole, none of the music is 'bad' or off-putting. It is just so neutral, arousing very little emotion. I have listened to this five times now, and I find it does not stand up to multiple listens, just gets more boring with each listen (I always make a point of listening to an album multiple times before I review it, as often the degree of musicality only becomes evident once one is familiar with the music). Go for their earlier albums (especially TEINACDP) if you want to explore this band. I give this 3.8 out of 10 on my 10-point scale, which translates to 2 PA stars. (The cover art is great though, so it has that going for it).
 Critical Meat by YOU SLUT! album cover Studio Album, 2008
3.97 | 5 ratings

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Critical Meat
You Slut! Post Rock/Math rock

Review by LoneWolf

4 stars 91/100

I too was first attracted by the catchy band name and didn't expect much but was floored upon my first listening. Aside from having a great imagination in song titles, these guys are awesome musicians. But not only do they pack a lot when it comes to complex riffs, crazy time signatures and cunning transitions, the music they play sounds great. It's catchy -- just listen to the intro riff of 'Pie to the Death-Faced Indie Kid' that I must listen to everyday from now on and you'll see what I mean -- I love their sound, part-alternative, part-punk, part-metal, part-prog, part-their own, that seems a bit of a joke -- it's like Primus but more accessible -- they have a great share of feel -- since they play with a great dose of fun their music is fun to listen to -- and on top of all they add a sprinkle of psychedelia to their compositions, taking you from heavy riffs and crazy percussions to gliding sonic waves.

Spanning over less than half an hour, this album still feels like it has no weak spots, taking you from a crazy riff to another with cunning musicianship. Truly a great addition to anyone who likes metal's aggressiveness but regret its heaviness.

 The Dark Of The City by HIBERNAL album cover Studio Album, 2017
3.81 | 53 ratings

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The Dark Of The City
Hibernal Post Rock/Math rock

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars Mark and Rowan are back, and again the story revolves around just two characters, both played by actors who have previously been involved with Hibernal. Scott Gentle took the lead in 'Replacements', while Faleena Hopkins took a minor role in both 'Replacements' and 'After The Winter', but here things have been changed as Faleena is very much the lead. This changes the dynamic, as the script is always in the first person, so the switch to female was surprising and caught me off guard. As with the previous album there appears to be more music, which is many places is quite dramatic, and whereas I normally "see" Mark's stories in full colour, this feels far more black and white, as if it is a classic Hitchcock. Or at least if Hitchcock was directing films that would normally be called science fiction. In terms of timelines of the Hibernal world, this has more in common with 'Replacements', but more of a parallel universe to that one as opposed to the same vision.

There is an almost hypnotic state to the music, as it takes control of the senses and drags the listener into a new world, one where Moreeno the cop is undertaking a relentless search for the creature that killed her partner. By chance she comes across her new partner during the evening, and together they finish what had started a few weeks before. I still find it incredible that in so few words Mark can create a picture of Carson City ? I feel I understand both it and its underbelly, and can envisage what the characters are seeing when the final act is played out.

The post rock riffing combines with Pink Floyd stylings to create a musical soundscape that is at times at the forefront of what is happening, creating the dramatic when there are no words, and at others falling into the background so that the actors are centre stage. This isn't a concept album, nor it is a spoken book, but something that is different from both and instead is a musical radio play for the ears.

This is Mark's fourth full album (the previous three are also available in music only forms), and the fourth to which I feel I need to recommend at the very highest level. Go to his page on Bandcamp, pick any of these at random, then sit back and enjoy the experience. I can promise that you won't be disappointed.

 After The Winter by HIBERNAL album cover Studio Album, 2015
4.26 | 26 ratings

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After The Winter
Hibernal Post Rock/Math rock

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars The synopsis of this album is "A man who transfers his thoughts and memories to a synthetic body in order to survive an apocalypse seeks to return to his human form". Yes, yet again we are in the world of Mark Healy, which is bleak and post-nuclear war, some time in the future. Rowan Salt has again joined Mark by providing bass, and it is interesting to note that Faleena Hopkins, who portrayed Sabel in 'Replacements' is back again, this time as Arsha ? the first time that one of the actors has returned. There are only two characters in this story, down from four last time and three in the debut, but in many ways, this is possibly the most compelling to date.

When listening to Mark's cinematic visions I have sometimes wondered which author he most reminds me of, but there was no debate on this one, as to me this is Stephen King and the wastelands encountered on the journey to The Tower. But, as always with Mark, there is quite a twist. If we consider this to be the third in a loosely connected trilogy taken from the same world view, albeit at different times, this is the one furthest in the future, and the one that seems to have the most music within it. There are few words in the script outside of the conversations that take place between the Arsha and the lead character, Brant, and his post rock Pink Floyd inspired soundscapes perfectly capture the mood.

This is the perfect combination of two quite different art forms, that of music and of a script spoken by professional actors, so that one enhances the other to make something so compelling that once it has started, nothing else exists. At the end of this album I felt it was more complete than 'Replacements', one where this particular chapter had come to a logical conclusion. There were questions I wanted answered, and I did want to know what happened in the future, but I also felt that the story was concise and ended in a better fashion than the last one. Compelling, enthralling, imaginative and exciting, Hibernal.

 Asunder, Sweet And Other Distress by GODSPEED YOU! BLACK EMPEROR album cover Studio Album, 2015
3.63 | 79 ratings

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Asunder, Sweet And Other Distress
Godspeed You! Black Emperor Post Rock/Math rock

Review by Walkscore

4 stars This album is better than their predecessor 'Allelujah! Don't Bend Ascend'. It remains rooted in the harder style noted on 'Mladic' (the best composition from that album), but on this one the entire album flows together much better. Indeed, although the album is broken into four tracks, they are all part of one long composition (the formerly-named 'Behemoth', mentioned by the other reviewers). I have seen this composition performed live, and it works very well in that setting. I think it works slightly less well on the album, mainly because it starts so starkly with the two drummers hammering a loud 6/8 beat for a few bars, followed by the entrance of electric guitar power chords. That is, the album doesn't start quietly like their other albums, building to a crescendo. On this one, they begin at (or close to) the crescendo. I find the first two (of the four) tracks less musical than the last two, but those last two (the second half of the long piece) are definitely worth waiting for. The third track involves improvised droning, and a particular delight is the fuzz bass (providing evocations of Soft Machine - one of my very favourite bands - and the Cantebury scene in general - indeed, parts of the third track sound like they almost could have come out of SM live recordings from their 'Fourth' and 'Fifth' periods). On this album and the predecessor, GYBE do not feature nearly as many beautiful quiet passages as their pre-break albums, nor the many sound effects, radio/tv snippets, street noises, talking, etc that added political and emotional weight to their (otherwise instrumental) music. When they play live, they are always accompanied by visuals, which add this weight in that live setting. I am not sure this particular album needs them, but the previous one ('Allejuh...') surely could have used them. Overall, I give this album 8.0 out of 10 (on my 10-point scale) and so PA 4 stars.
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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
C'EST MORTEL United States
THE CALM BLUE SEA United States
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