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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

4.30 | 68 ratings
RANDOM AVENGER
Magyar Posse
4.25 | 73 ratings
CHILDREN OF GOD
Swans
4.14 | 515 ratings
ÁGÆTIS BYRJUN
Sigur Rós
4.12 | 524 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.25 | 48 ratings
FOR LONG TOMORROW
Toe
4.13 | 178 ratings
ENTER
Russian Circles
4.07 | 384 ratings
F# A# ∞
Godspeed You! Black Emperor
4.15 | 66 ratings
SOUNDTRACKS FOR THE BLIND
Swans
4.28 | 27 ratings
KING NINE
Blueneck
4.06 | 244 ratings
SHADOWS OF THE SUN
Ulver
4.50 | 13 ratings
DREAMS THAT COME A THING (PT I) - ...NEVER THOUGHT IT MAY SEEM...
Bosch's With You
4.17 | 42 ratings
PHANTASIA
Lite
4.17 | 42 ratings
THE COLLIBRO
Lis Er Stille (Liserstille)
4.06 | 134 ratings
ULVER & TROMSØ CHAMBER ORCHESTRA: MESSE I.X - VI.X
Ulver
4.07 | 83 ratings
CODENAME: DUSTSUCKER
Bark Psychosis
4.30 | 19 ratings
HOW LONELY SITS THE CITY
Ascent Of Everest, The
4.06 | 98 ratings
ONE TIME FOR ALL TIME
65DaysOfStatic
4.06 | 91 ratings
AMERICAN DON
Don Caballero
4.17 | 32 ratings
BEAUTIFUL
About Tess
4.07 | 77 ratings
THE EXTENT OF DAMAGE
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

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

Latest Post Rock/Math rock Music Reviews


 American Don by DON CABALLERO album cover Studio Album, 2000
4.06 | 91 ratings

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American Don
Don Caballero Post Rock/Math rock

Review by TCat
Prog Reviewer

5 stars Don Caballero is considered a math rock band, and their sound can get quite dense and complex as it works off of mostly guitar patterns that drive the music while layers get added on top of that, which is usually what the pattern is for math rock bands. This album, "American Don", is a great entrance point for those that are either interested in the band itself or in the math-rock genre in general. In this album, you hear plenty of the King Crimson "Discipline" era influence, but you can also pick up Tortoise influences too. Another great attraction to this album is the way the bass is mixed way up front in a lot of the tracks, and even sounds "Rush-like" at times.

This album is so good, that it is considered a standard for other math rock bands and albums; a bar on which to judge other works. It also influenced many math rock bands to form, and it was a gateway for many listeners to become fans of the genre. In that way, it is an essential album. It is also one of the most accessible in the DC discography, thus the reason why I would suggest it to those interested in exploring the sound. As it is somewhat accessible, it is still definitely not commercial.

I did a track by track analysis of this and was ready to post it, but my screen went black and I lost the review, so I will try to summarize the highlights of the album. The album starts out with "Fire Back..." which is the perfect way to start. Immediately, you will hear the obvious influence of King Crimson in the almost industrial like sound of the guitar layering. This is an upbeat opener, and is over much too quickly. "The Peter Criss Jazz" comes next and is over 10 minutes long. Don't worry, there is a lot of variety to this track as several ideas are introduced and expanded on, sometimes the ideas change by a fade out/in and other times in a more sudden way. This never gets boring during it's run time and is always very interesting and fresh all the way through. "Haven't Lived Afro Pop" has more of the Tortoise influence throughout it. This one returns to an upbeat feel, and you start to hear a funky element here, that you will also hear in other later tracks. "You Drink a Lot of Coffee..." is a short, but dense and repetitive track, almost to the point of self-parody, but it is over before 2 minutes is up.

"Ones All Over the Place" is a very dynamic piece, but more concise than "Peter Criss". You can hear the way the bass is mixed to the front, and you again get that Tortoise influence somewhere in the middle of the track. This is another great track running at just over 9 minutes, and every second is great. The last four tracks run at about 5 minutes each, and each one is an excellent example of the use of layering in math rock, at one time even layering on the bass, another time there is a short drum solo followed by bass and percussion interplay, funkiness abounds in places, density in others, there are even jazz influences thrown in for good measure.

Sorry about the brevity of this review, but like I said, I had a much more detailed review of each track, but ended up losing it because I didn't save my work often (gasp!). Let this be a lesson to me! Anyway, I had to quickly summarize the best I could.

Overall, this is a great album and in my opinion, an essential masterpiece for prog lovers. It acts well as an introductory point for curious music exploration as it is fun, exciting and interesting all the way through. Each individual track has something to offer, and there is a lesser feeling of same-ness in this album, but enough "mathematics" present that you will understand the idea behind the sound, and then you can make the choice it you want to explore some more. I love this album and highly recommend it. I have no issue giving it a glowing 5 star rating.

 Allelujah! Don't Bend! Ascend! by GODSPEED YOU! BLACK EMPEROR album cover Studio Album, 2012
3.68 | 145 ratings

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Allelujah! Don't Bend! Ascend!
Godspeed You! Black Emperor Post Rock/Math rock

Review by TCat
Prog Reviewer

4 stars After several years on hiatus, GY!BE returned with this long awaited album in 2012, and the fans went wild. GY!BE amassed many fans during their hiatus, people were growing to love their music, their brand of post rock, and many bands were being influenced by it also, along with many imitators. Even though this was their first album in many years however, it is not one that I would recommend for first timers or newcomers to their music.

This time around, the music is more dense, and based on drones more than previously, and also more of improvised music than structured, not that any of this is a bad thing, it's just less accessible (If any of it is accessible at all that is) than other albums. This album consists of 4 tracks, 2 of which are very long at about 20 minutes each, and 2 shorter tracks. The two long tracks are reworkings of songs that have been played in concert settings for many years. The shorter tracks are more drone-like.

The vinyl edition was released as two records, one a 12 inch which contained the longer tracks, and a 7 inch which contains the shorter drones. On the sleeve of the 12 inch, there are instructions as to what order to play these tracks in, since it is not in a conventional order as on other vinyl formats.

The album opens with "Mladic" at just under 20 minutes. This one starts out based on a drone and background music mostly formed from one chord. Things build off of this with fast rhythms and improvisation, and there really isn't any chord changes at all until you get past the 6 minute mark. Structure starts to become more apparent as a chord progression starts and the music continues to build. All of a sudden you will notice a theme (melody) that sounds middle eastern and pretty soon all of the instruments are playing that theme as development continues to the point that things actually get cinematic. Suddenly, the tension is broken, things stay intense for a while anyway, but things start to calm down, until the end when the track is led out by a middle eastern percussion pattern.

"Their Helicopters Sing" comes next at over 6 minutes. This entire track is built on a drone and layers are built on top of this. This is led by strings and other non-traditional rock instruments, also accompanied by guitars.

The third track is "We Drift Like Worried Fire", and as the title suggests, this starts out with a floating sort of atmosphere. There is a pattern that forms a theme, which eventually becomes more marked as percussion joins in as a regular beat at around 4 minutes. A violin soon starts playing a counter melody is played on top of everything. The real build starts at 6 minutes as churning guitars, synth and bass start to take over. Tension is released at 8 1/2 minutes as guitars trade off making sounds, tension starts to build again. This track is more of a Scandanavian feel as it gets to this point, the sound of guitars and instruments playing from the mountaintops is the feeling you get. Soon, a lone violin starts to cry and plead and other instruments join and answer back. Percussion comes back in the form of cymbals and a beating drum in the form a dirge, with strings pulsating and other sounds moving around creating an ominous atmosphere. The music builds off of this feeling now, and is the most exciting part of the album. Tempo starts to pick up as rhythm increases. The music suddenly settles into a pattern with a very nice thematic element present here. This suddenly becomes very positive feeling, a very welcome change in the music. This all stops at 17 minutes, and you get lone strings playing far away and they slowly increase in volume, fast paced rhythm joins in and the build here is really quick as that thematic feel starts again. This track is the most structured feeling part of this album and it works amazingly well with the rest of the more improvised feeling of the rest of the album.

"Strung Like Lights..." is the last track at 6 1/2 minutes. Again, this is another drone style track, but the drone is made with harmonies between various instruments with long sustained notes. If you listen closely, you can detect a warbling texture in the drone as pitch tends to change in the sustained notes. Discord enters as tortured guitars begin to be layered in.

This is an excellent album, but it took me a few more listens to begin to really appreciate it. I do love this album, just like all of their other works. To me, it's not the album I would present or recommend as a starting point, that belongs to their debut album, "Lift Your Skinny Fists..." or even the newer album "Asunder". This one is more advanced listening, like "Yanqui U.X.O.". However, this is still an excellent album, and definitely was not a letdown. I knew it was great the first time I heard it, but as I said before, it took me more listens to really appreciate it, but even so, I still knew at that time that it was excellent. This is also the reason why it took me longer to review this one, because I knew once I become more familiar with it, I would like it even more.

 All Of A Sudden I Miss Everyone by EXPLOSIONS IN THE SKY album cover Studio Album, 2007
3.60 | 99 ratings

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All Of A Sudden I Miss Everyone
Explosions In The Sky Post Rock/Math rock

Review by TCat
Prog Reviewer

4 stars There is a reason why Explosions in the Sky is one of the most talked about and popular post rock bands out there. They know how to use the post rock formula of taking a basic theme and developing on it by adding and taking away layers and using dynamics very effectively. There is a lot more to their music than starting out soft and building to a climax, they use variants of this theme to develop a musical idea or portrait. Their music is strong and emotional, and not one lyric has to be sung to make it that way. The biggest problem I have with them, is that there isn't enough variation in their sound like there is with Mogwai or Godspeed You! Black Emperor. There just isn't enough experimentation and novelty. But many of their fans are okay with this and they like the predictability. For me, variation is always important for me to retain interest in a band or an album.

That being said, this album is an excellent album. It's just hard for me to be totally enthusiastic about it because there just isn't enough variety. Song development is excellent here, dynamics are ever present, and things are not always completely predictable, but in some ways, the tone of the music is predictable. At least they do vary in the overall post rock formula.

The album starts out with "The Birth and Death of a Day" which is an excellent and powerful opener. The music fits the title completely and was inspired by the mountains that surrounded the narrator in Steinbeck's novel "East of Eden", how the mountain range in the east heralded the beginning of the day and the range in the west represented evil because they ate the sun. Talk about an effective soundtrack to that idea, the power of the music representing the majestic mountain ranges, and how the quietness at the end represents the twilight. Amazing song.

Next is "Welcome Ghosts" that is a nice typical post rock song, but doesn't leave as much of an impression on me. The third track is much better. "It's Natural to be Afraid" is an epic track at over 13 minutes, and it stays surprisingly interesting throughout the track. The reason for this is because, even though the overall feeling is the same as the rest of the album, the development of the themes and the uses of dynamics is a lot more varied. The music is a lot more interesting simply because it moves around a lot more in feeling, and emotions are also very high on this track.

Next up is "What Do You Go Home To?" This has some very pretty shimmering piano played against some pensive guitar chords and arpeggios, but it's rather short (at almost 5 minutes) and could have been developed a little more. The melody is not as apparent in this one, but that's okay because it does have a lot of atmosphere. I would have liked this one to have been longer with more development. "Catastrophe and the Cure" is a longer track, but is too typical sounding as far as post rock goes. The percussion is too clunky sounding to me. The theme is a little repetitive and the layering is very thick in the louder sections. "So Long, Lonesome" is short at under 4 minutes, and, while it is a quiet track, it lacks in development, which hurts it's effectiveness in the overall picture. It does bring a little hope to the dark tones, but not enough to bring the entire package above the same-ness of tone. When percussion joins for a short time at the end of the track, it seems nice, but that clunkiness is there again.

Overall, this one holds my interest better than some of the other similar sounding post rock albums, but I still lose interest before it's all over. The mood changes a little throughout, but not enough to consider this a masterpiece. I believe that it is worth checking out if you want to explore post rock bands, because there is enough interesting material here to consider it worthy of being an excellent recording, just not enough to make it essential.

 All Is Violent, All Is Bright by GOD IS AN ASTRONAUT album cover Studio Album, 2005
3.81 | 142 ratings

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All Is Violent, All Is Bright
God Is An Astronaut Post Rock/Math rock

Review by TCat
Prog Reviewer

3 stars After listening to this album several times, my impression of God is an Astronaut is a lite Post Rock band. Their brand of post rock is to try to make it easy for people to listen to. Personally, I don't think post rock was meant to be accessible, yet they try their hardest to make it so. Except for some wordless vocals in "Fragile", all of the songs on this album are instrumentals, so they check the first box on their post rock formula. Songs are based on the usual post rock formula, that of crescendos built off of a basic melody line.

I can't really compare this record to anything by Godspeed You! Black Emperor, because there is so much more depth in anything that GY!BE has done. The shortness of the tracks here makes certain that there are no epics on the album, just mostly basic instrumentals that feel like they could be epic if they were developed better. Sure, Mogwai and other post rock bands have recorded short songs, but many times, those songs flow into each other, where on this album, every song is it's own entity and none of them seem to have anything to do with each other, just like pop songs on a popular album. Post rock doesn't have to be all lengthy songs, they just have to have more depth to them.

The rhythms on each song pretty much hold a constant beat on each individual song, This is also to help the music be more pop- like. Doing this would make you think that each track must have it's own personality, but they really don't. What you end up getting here are some songs that might be mildly interesting, but they also tend to not have anything memorable about them. The titles don't seem to support anything in the individual tracks. For example, "Suicide By Star" could just have easily been called "Climbing a Broken Ladder and Jumping Into a Small Metal Bucket" and still wouldn't have been any different. It's like they recorded the music and decided to label it something that sounded like it might be post rock-ish.

So, it is pleasant in it's own way, but it really isn't anything that would get you interested in investigating their other albums. I think the best way to describe this is Post Rock Lite. It just seems to lack emotion and depth to me and it devoid of much feeling. It doesn't take a lot of brain cells to listen to it, but it doesn't seem to generate a lot of interest for me either. I will give it a low 3 star rating because the production is good, and listening to one track now and then is okay, but I can't seem to garner much interest in it all together as a package, it just gets dull too fast.

 Ágætis Byrjun by SIGUR RÓS album cover Studio Album, 1999
4.14 | 515 ratings

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Ágætis Byrjun
Sigur Rós Post Rock/Math rock

Review by TCat
Prog Reviewer

5 stars This would be the album that would bring Sigur Ros out of obscurity not only in their own country of Iceland, but in the entire world. Hard to believe that a band that sings only in their native tongue and also in another made-up language would be so popular in America also, but this band proved that it can happen. This was only the band's 2nd full album, but it is so innovative and beautiful, so well produced, that you would swear these were well seasoned musicians. These feats in and of themselves tell a lot about the artists involved, but it is only a huge plus that this album is one of the most beautiful experiences in modern music today.

People like to compare them to Pink Floyd, but there is no comparison to any band. The techniques they use are unique, like using a cello bow on guitar strings and then adding reverb to create atmosphere. And this album is completely full of atmosphere and emotion. When I listen to it, I marvel how some of this music is even earthly possible. It approaches celestial status at times, lifting you above everything. It is also very immersive music in that to fully appreciate it, you have to immerse yourself and really listen. There is so much going on even at regular levels, but also in many underlying passages. But you don't have to always be immersed to hear it's beauty. For example, the 3rd track "Staralfer", when I first listened to this album, I was not really immersed into it, but the beauty of the orchestration and musicianship pulled me in instantly. Just as another reviewer has mentioned, this album can bring you to tears, and this is one track that does it. It's hard to believe that the topic of the track is a child's fairy tale about a staring elf, but that is why I think it is important that the lyrics can't be understood, because it leaves that track and every song by the band open to complete interpretation. You can paint your own pictures in your mind.

But, the amazingness of the music isn't just limited to that track. It starts off with an "intro" which is simply the title track (Number 8) played backwards. But it prepares you for "Svefn-g-englar" which is also a lovely song, where the lyrics are repeated often, but the lyrics and the vocals are just instruments in the entire band. The birthing process through the perspective of a new born is the topic of the song. The use of the bow on guitar strings is used well in this song to increase volume and emotion of the track. Then the beautiful and heavily orchestrated "Staralfer" comes next and words can't express the emotion in this track. I love how the orchestra builds while Jonsi sings and then just drops off to what sounds like an electric guitar that is not plugged in to an amp being strummed while he continues to sing. An interesting side note here is that the strings in this track are palandromic, or the same forward and backward. I also find the track " Hjartað Hamast (bamm Bamm Bamm)" extremely interesting and amazing, with totally unique sounds and textures, and at times copying the sound of a hammering heart, as is hinted in the title. Throughout the album, there is such an effective use of dynamics, and that is very relevant in this track.

"Viðrar Vel Til Loftárasa" is probably the closest song to a Pink Floyd type sound. It has a very long introduction which features a solo piano and an orchestra crescendo-ing and then a sliding guitar sound very reminiscent of Pink Floyd joins in very tastefully. Then vocals finally start, remaining somewhat subdued and far away this time, but the instruments still swell and ebb around the vocals. The effect is amazing. Then suddenly, there is that huge sound of the treated guitar and bow again, and it is joined by strings which eventually drown everything else out as it builds and tempo and pitch are sped up. Then it drops off suddenly and flows into the familiar drum beat and bass line of "Olsen Olsen". This is another beaut of a song. The far off voice starts sounding like Jonsi is singing from a distance, like from a distant canyon. And that flute melody that comes in from time to time is perfect. It gives the track a definite Celtic feel. When that melody comes back, it is played by the piano with strings chugging underneath, and then joined by the band and the orchestra and chorus. Love the jubilant feel of this one. As brass joins in, things get slightly disjointed and dissonant as it fades out. Before the track is over, you hear the flute far away in the distance. The title track is more acoustic sounding and is probably more of a traditional love ballad sound, but lovely nonetheless. There is still enough ingenuity in this track to keep it interesting. The song is fragile sounding, like it is likely to go wandering off into non-traditional territory at any time, but something continues to keep it restrained to it's boundaries. Everything is finished off with "Avalon", which is simply the strings section and the strumming section from "Staralfer" slowed down to about 1/4 of the original speed, and sounding rather muffled. It serves as an ambient ending to the album.

When you listen to this album, you can see why it was so well received everywhere in the world and also lauded by critics. It is an amazing album, which strongly proves that Progressive Rock is alive and well. This is a definite masterpiece, though it is not universally accepted by all prog-heads, there is no denying that if you let yourself into this music, that it is simply amazing. Some have a hard time liking it, but to some, the love for this music just comes naturally and others need time to listen to it seriously. This is a definite 5 star masterpiece, and in my own rating system, it even gets that very rare 6 star rating. Perfect.

 Astral Seasons by FOBIA INC album cover Studio Album, 2016
2.90 | 2 ratings

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Astral Seasons
Fobia Inc Post Rock/Math rock

Review by Windhawk
Special Collaborator Honorary Collaborator

3 stars Polish band FOBIA INC have apparently been around for a good few years, although actual and factual information about the band is extremely sparse, despite their many branched existence on the various stopping points of the internet. "Astral Seasons" is their debut album, and was released through Polish label Green Lungs Records in 2016.

If you know and love your instrumental post-rock, complete with occasional dips into darker and harder metal riff oriented parts for added depth and intensity, Fobia Inc. have crafted a good, quality album that merits a check at some point. While I do not think that this production will appeal strongly outside of this audience base, those inside it should find this production to be a good, quality addition to their collections.

 Idejala! ...esta Triste by RETROVERTIGO album cover Studio Album, 2005
2.91 | 2 ratings

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Idejala! ...esta Triste
Retrovertigo Post Rock/Math rock

Review by TenYearsAfter

3 stars "FIRST REVIEW OF THIS ALBUM"

Many years ago I did an interview with French progrock label Musea, very nice and prog dedicated people. The Musea crew told me that they are almost daily flooded by promo material from a wide range of prog bands, from all over the world. And they do their ultimate best to take all seriously, and that's how Musea stumbled upon four piece Venezuelan prog band Retrovertigo, formed in 2002. An interesting and friendly meeting between Latin-America and Europe, emphasizing the increasing amount of quality prog from that area in the last two decades (from Nexus, Amagrama, Bauer and Astralis to Angulart, Loch Ness, William Gray, Supay, Redd and Spin XXI, to name a few).

In general Retrovertigo their music is pretty dark and guitar-oriented featuring lots of slow rhythms, atmospheric climates and fragile guitarwork. The influences range from Landberk, King Crimson (Discipline-era) to Coldplay, Nirvana and U2. My highlights.

La Esperanzadora : soaring keyboards and beautiful electric guitarsound.

Mi Dulce Y Enferma Vivana Vivana : great interplay between fiery electric guitar and propulsive drums.

And the tiltetrack : warm vocals and intense electric guitarplay.

To me this album sounds as a wonderful attempt to make varied prog, with a strong emotional undertone.

My rating: 3,5 star.

 Hvarf / Heim by SIGUR RÓS album cover Boxset/Compilation, 2007
3.53 | 49 ratings

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Hvarf / Heim
Sigur Rós Post Rock/Math rock

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

3 stars Between the two albums 'Takk...'' and 'Með suð í eyrum við spilum endalaust,' the Icelandic post-rock band SIGUR RÓS released this double disc album titled HVARF / HEIM which some sources seem to list as a compilation and others as a bona fide album release. Disc one - HVARF contains three unreleased tracks, the track 'Von' from the debut album as well as the track 'Hafsól' which was originally only available as the B-side of 'Hoppípolla" from 'Takk...'' Disc two - HEIM is a set of six live acoustic versions of tracks that were presented on the documentary 'Heima' which presented SIGUR RÓS's tour around Iceland in the summer of 2006. Of these six live performances, 'Von' is included as well making it appear twice on this release. Although they are live performances, it is impossible to tell that they are so since there is no audience noise participation and sound as polished as any studio release. The tracks are taken from the albums '( ),' 'Á'gætis byrjun,' 'Takk..'' and 'Von.'

Like their bona fide studio albums, HVARF / HEIM was very successful all across Europe and with the independent crowds in the US. This Icelandic act delivers the expected journey into the frosty cold post-rock journeys that they have always been known for but the albums comes across as a more chilled and laid back affair sounding most like the ''g'tis byrjun' album with sensual airy keyboard runs accentuated by Jón ''Þór " Jónsi" Birgisson's ethereal falsettos (in Icelandic) accompanied by bass and drums. In other words, the band performs just as expected without any deviations from the norm. The chord patterns and floating cloud atmospheres lollygag leisurely through the friendly skies while mid-tempo beats prance about like lucid pegasus ponies on a lazy afternoon and none of the unreleased would sound the least bit out of place on any of the albums prior. And unfortunately they fail to craft distinct identities from the other.

Soundtracks have to work double duty to win me over. They were created exclusively for accompanying the visuals and commentary that fits into a bigger scheme of things as background music for a film or documentary but often soundtrack music doesn't have the gusto to pull off unaccompanied listening alone and such is the case with HVARF / HEIM for me. The fragility of SIGUR RÓS' sound is like that of an eggshell and one tiny crack and the whole system fails. While carefully crafted albums work beautifully even the less loved debut 'Von,' random track offerings such as HVARF / HEIM just seem a little lackluster as the tracks just aimlessly float by without the context of the visuals that they were designed to augment. Overall there isn't enough to win me over on this compilation and / or album. It's not that this isn't pleasant music in the least and any hardcore fans will surely want to own this one, however it's just not one that draws me in for repeated listens and lacks the distinct charm that albums like 'Takk...' so successfully employed. The unreleased tracks are the more interesting ones.

 Achromata by AESTHESYS album cover Studio Album, 2018
4.00 | 9 ratings

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Achromata
Aesthesys Post Rock/Math rock

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars High quality classically-influenced jazzy Post Rock from Russia!

1. "Grauer Wald" (5:17) great insistent keys and rhythm section behind lead violin. Burst at 2:35 into full force but then takes a long time to do anything more dramatic. (I kept waiting for the violin or somebody to really take off, but it never happened.) (9/10)

2. "Filis Aureis" (4:26) my least favorite song on the album, just too dull and repetitive. (8/10)

3. "Marea" (5:16) opens like a very familiar Post Rock song from either GOD IS AN ASTRONAUT or MONO. Building, the drumming gets a little annoying, before a break at 2:30 allows a neat little "hammered dulcimer" section to unfold. Slowly drums, piano, guitar, and violin join in and build to a MONO-like crescendo at the end. (9.5/10)

4. "Himmelbarn" (7:10) again opening with riffs familiar from other Post Rock songs (EXPLOSIONS IN THE SKY come to mind), the song soon shifts gears into a more jazz-classically challenging section before everything quiets down at 2:07 into a peaceful mellow reset and start over. The soundscape begins to expand in the fourth minute as violin joins the guitars, drums and bass. Then, at 4:07, another shift into that higher octane rapido section recurs with heavy guitars power-strumming away while the violin tries to stay afloat above the turbulence. (9/10)

5. "Melanocardia" (6:33) too repetitive, getting stuck in one gear for about two minutes in the middle with absolutely nothing new happening but fast driving chord striking, and then the follow up is rather anticlimactic. (7.5/10)

6. "Sapatha" (5:39) drums and keys are the key to the success of this one. (9.5/10)

7. "Apogeion" (6:22) agains drums, piano, and bass make this such a solid foundation upon which to build and soar. (9.5/10)

8. "Eosfyllon" (5:44) starts slow and quiet before ramping up into a wonderfully melodic and varied song. (9/10)

4.5 stars; a near-masterpiece of progressive rock music.

 Euphoric by FIERCE & THE DEAD, THE album cover Studio Album, 2018
4.76 | 6 ratings

BUY
Euphoric
The Fierce & The Dead Post Rock/Math rock

Review by kev rowland
Special Collaborator Crossover Prog Team

5 stars And so, the accidental band are back. Originally destined to be Matt Stevens' second solo album, TFATD have morphed into possibly the most important instrumental rock act in the UK today. Comprising Matt (guitar, synth, piano), Kev Feazey (bass, programming, synth, percussion), Steve Cleaton (guitar, piano) and Stuart Marshall (drums, percussion) they have gained an amazing following (The Fierce Army) over the last few years, due in no small part to be a great live act who have found new fans wherever they have played. They can often be found playing with their mates Hawkwind, and gained huge kudos from their gig last year with Monkey3 at The Borderline.

Here they are back with their third studio album, which follows on from 2013's 'Spooky Action' (they released the live 'Field Recordings' last year). It is incredibly hard to categorise their sound as it comprises elements from post rock, math rock, space, rock, prog and hard rock all thrown into a metallic melting pot. There are times when it feels that the band are just bouncing ideas off each other in the studio, jamming live, when at others it feels slightly more structured but whatever they are doing it always contains a mighty groove that makes the listener to move along to the music. Due to the small matter of geography I have never seen the guys play (they formed four years after I moved to the other side of the world), which I know is very much my loss, as while this is a great album I know that in concert it will be turned into something that is quite another level.

TFATD have stayed true to their roots to this album, and that the mainstream is starting to embrace them has far more to do with the rest of the world coming to grips with how good they are as opposed any 'selling out'. This is an incredibly easy album to listen to, although with the distorted riffs sweeping through my brain I could never call them easy listening. This could well be the album that breaks them through to the big time, and it will be richly deserved. If you haven't come across them before this, now is the time.

Data cached

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
ANTIER Spain
THE ANTONI TASHEV PROJECT Bulgaria
APRICOT RAIL Australia
APRIL RAIN Russia
ARAMID United States
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
BIRDS OF FIRE United States
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
IL CIELO DI BAGDAD Italy
CINEMATIQUE Austria
CINEMECHANICA United States
CLEAN OF CORE Japan
CLESSIDRA Italy
CLEVER GIRL United States
CLOUD ARCHIVE United States
COALA PASCAL Ukraine
CODES IN THE CLOUDS United Kingdom
COLLAPSE UNDER THE EMPIRE Germany
CONCENTRIC United States
THE CONQUERING LIGHT OF FLORA AND FAUNA Denmark
COPTIC LIGHT United States
CROMBIE United Kingdom
CUE United States
CUL DE SAC United States
DATURAH Germany
DAY FOR AIRSTRIKES United Kingdom
DAYCAST United States
THE DEAD SEA Australia
DEADFILE Greece
DEADHORSE United States
DEL REY United States
DESERTSHORE United States
DETWIIJE United Kingdom
DEXTRO United Kingdom
DIANOGAH United States
DICK HUDSON Italy
DIETRICH Argentina
DIRTY THREE Australia
DISCO INFERNO United Kingdom
DISPOSITIVOPERILANCIOBLIQUODIUNASFERETTA Italy
DO MAKE SAY THINK Canada
DON CABALLERO United States
DON'T LOOK BACK France
DON'T MESS WITH TEXAS Croatia
DORENA Sweden
DRESDA Italy
DROP ELECTRIC United States
EASTSTRIKEWEST United Kingdom
EAT THE SUN United States
EATEN BY TIGERS United Kingdom
THE ECHELON EFFECT United Kingdom
ECHOES AND SIGNALS Russia
EDGAR (ANIMO) Belgium
EF Sweden
EFRIM MANUEL MENUCK Canada
EFTERKLANG Denmark
EIMOG Italy
EKSI EKSO United States
EL RUPE Portugal
ELLIS THE VACUUMCHILD Sweden
ELOHYMN United Kingdom
EMPHASIS Croatia
EMPTY SILOS ECHO WAR United States
EN PLEIN AIR Italy
ENABLERS United States
ENGRAMA ([ENGRAMA]) Multi-National
ENVY Japan
EPIGRAM Canada
EQUUS Switzerland
EROICA United States
ESMERINE Canada
EUPHORIA Japan
EVERSHAM Australia
EVERYTHING IS MADE IN CHINA Russia
THE EVPATORIA REPORT Switzerland
EXHAUST Canada
EXPLOSIONS IN THE SKY United States
EXXASENS Spain
F.A.T. France
FALCONBROOK United States
FARAQUET United States
FAREWELL POETRY France
FATHER FIGURE United States
THE FIERCE & THE DEAD United Kingdom
FINLAND Norway
FJORD Romania
FLARES Germany
FLIES ARE SPIES FROM HELL United Kingdom
THE FLOWERS OF HELL United Kingdom
FLY PAN AM Canada
FLYING SAUCER ATTACK United Kingdom
FOBIA INC Poland
FOLLOWED BY GHOSTS United States
FOR A MINOR REFLECTION Iceland
FORM AND FATE United States
FORM OF AN ICE WAVE United States
FORSQUEAK Italy
FOXHOLE United States
FRAGILE China
FRAGMENTS OF AN EMPIRE Austria
FRENCH TEEN IDOL Italy
FRIDGE United Kingdom
FROM MONUMENT TO MASSES United States
FROMABOVEINTHEMOUNTAIN Spain
FUGUE United States
GANGER United Kingdom
GASTR DEL SOL United States
GASTRIC BAND United Kingdom
GEORGE DORN SCREAMS Poland
GHOSTS AND VODKA United States
GIANTS United States
GIARDINI DI MIRO Italy
GIFTS FROM ENOLA United States
GIRAFFES? GIRAFFES! United States
GLASGOW COMA SCALE Germany
GLASS AMERICA United States
GO RUN DONKEY HOT! Croatia
GOD IS AN ASTRONAUT Ireland
GODSPEED YOU! BLACK EMPEROR Canada
GOONIES NEVER SAY DIE United Kingdom
GRANDE DUKE United Kingdom
GREGOR SAMSA United States
HAIDA United Kingdom
THE HALIFAX PIER United States
HAMMOCK United States
HANGEDUP Canada
HANNIBAL MONTANA United States
HARBORING GHOSTS United States
HAZARDS OF SWIMMING NAKED Australia
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HELIOS United States
HELLA United States
HELSINGFORS United Kingdom
HENRY GALE United States
HER NAME IS CALLA United Kingdom
HERMITAGE Italy
HEROD LAYNE Brazil
HIBERNAL Australia
HITCHCOCK GO HOME! France
THE HOSEMOBILE United States
HOW COMES THE CONSTELLATIONS SHINE Portugal
HRSTA Canada
HUA LUN China
HUME United States
HUNGRIA Argentina
HUNGRY GHOSTS Australia
HURTMOLD Brazil
THE HYLOZOISTS Canada
I AM THE ARCHITECT Germany
I AM WAITING FOR YOU LAST SUMMER Russia
I HEAR SIRENS United States
I LIKE TRAINS United Kingdom
I WAS GIVEN FEET TO FOLLOW YOU United States
I WILL KILL CHITA Russia
IF THESE TREES COULD TALK United States
ILYDAEN Belgium
IMMANU EL Sweden
IN EACH HAND A CUTLASS Singapore
IN THE WAKE OF GIANTS United States
IN(OUR)FINITE SPACE Canada
INDIGNU Portugal
INFINITE THIRD United States
INTERNATIONAL KARATE Australia
IOSEB Sweden
JAKOB New Zealand
JAMBINAI Korea
JARDÍN DE LA CROIX Spain
JENIFEREVER Sweden
THE JOE K-PLAN Spain
JOHNNYTWENTYTHREE United States
JOVENABUELO Chile
JOY WANTS ETERNITY United States
JUNE OF 44 United States
JUNG PEOPLE Canada
JUNIUS United States
KAIRON; IRSE! Finland
KAKAOKAMKAMI Finland
KALON United States
KAMMERFLIMMER KOLLEKTIEF Germany
KEPZELT VAROS Hungary
KERMIT Spain
KERRETTA New Zealand
KILLINGTON FALL United Kingdom
KIMIKA Canada
KINDER Peru
KLEVER Russia
KOKOMO Germany
KOMAS MIDA Sweden
KOMATSU Finland
KONTAKTE United Kingdom
KOVLO Switzerland
KRAENE Germany
KRISTEN Poland
KROBAK Ukraine
KUATO Canada
KURS KAYA Russia
KWOON France
LA FLAG Portugal
LA GRAN PERDIDA DE ENERGIA Argentina
LA MAR Venezuela
LABIRINTO Brazil
LABRADFORD United States
THE LADIES United States
LARSEN Italy
LAURA Australia
LAZONA Italy
LEBANON Israel
LEECH Switzerland
LET AIRPLANES CIRCLE OVERHEAD United Kingdom
LIAM Germany
LIGHTS & MOTION Sweden
LIGHTS AT SEA United States
LIGHTS OUT ASIA United States
LIKE BELLS United States
LIKE NOMADS United States
A LILY United Kingdom
LIMP Denmark
LINDA MARTINI Portugal
LIS ER STILLE (LISERSTILLE) Denmark
LITE Japan
LO' THERE DO I SEE MY BROTHER United States
LONG DISTANCE CALLING Germany
LOOSE LIPS SINK SHIPS United States
LORAINE United States
LOSS OF A CHILD United Kingdom
LOST IN THE RIOTS United Kingdom
LOST REVERIE Mexico
LOTTO Poland
LOVELY GIRLS ARE BLIND France
LOWERCASE NOISES United States
THE LUNA MOTH United States
LUNAR Croatia
LUZPARÍS Argentina
LYMBYC SYSTYM United States
MAGYAR POSSE Finland
MAN MOUNTAIN United States
MAN ZERO Croatia
MAPS United States
MAPS & ATLASES United States
MARRIAGES United States
MASERATI United States
MAYBESHEWILL United Kingdom
MEANWHILE BACK IN COMMUNIST RUSSIA United Kingdom
MEET ME IN ST. LOUIS United Kingdom
THE MERCURY PROGRAM United States
MESCALINER Netherlands
METALLIC TASTE OF BLOOD Multi-National
MIAOU Japan
MIGALA Spain
MILHAVEN Germany
MINIMUS Portugal
MINIONTV United Kingdom
MIRROR Japan
MOGWAI United Kingdom
MØN France
MONO Japan
MONOCEROS Mexico
THE MONROE TRANSFER United Kingdom
MOONCAKE Russia
MOONLIT SAILOR Sweden
MOTEK Belgium
MOTIONLESS United States
MOUNTAIN MEN ANONYMOUS United Kingdom
MOVING MOUNTAINS United States
MOVING STRUCTURES United States
MOYA Belarus
MR. MAPS Australia
MUDDY WORLD Japan
MUDY ON THE SAKUBON Japan
LA MUNECA DE SAL Spain
MY BELOVED Denmark
MY DAD VS YOURS Canada
MY EDUCATION United States
NEGEV United Kingdom
NEIL ON IMPRESSION Italy
NEW CENTURY CLASSICS Poland
A NEW SILENT CORPORATION Italy
NEWSPAPERFLYHUNTING Poland
NICE WINGS ICARUS! Ukraine
NO ONE WISHED TO SETTLE HERE Poland
NOMADS United States
NOVA SCOTIA United Kingdom
NUITO Japan
O'BROTHER United States
O.RANG (.O.RANG) United Kingdom
OAQK Japan
OBSTACLES Denmark
OCEANIC Canada
ODDARRANG Finland
OISEAUX - TEMPETE France
OKETO United States
OSHEAN Russia
OSTINATO United States
OVUM Japan
OXES United States
PAIK United States
PANTHER ATTACK United States
PARABSTRUSE United States
PAVING THE LABYRINTH South Africa
PAWA UP FIRST Canada
PEACH PIT Croatia
PELE United States
PERHAPS United States
PERTEGO Italy
PETROGRAD IN TRANSIT United States
PG. LOST Sweden
PHEWWHOO Japan
THE PHYSICS HOUSE BAND United Kingdom
PIGLET United States
THE PIRATE SHIP QUINTET United Kingdom
PLAIN FADE Finland
PLANETS United States
PLOKK Germany
PNEU France
POLVO United States
PORT-ROYAL Italy
PORTRAIT OF A DROWNED MAN United States
PREA HRADA Russia
PRECIOUS FATHERS Canada
PRESENCE OF SOUL Japan
PVT (PIVOT) Australia
QUALIA United Kingdom
O QUARTO FANTASMA Portugal
RADIO FREE ISAAC Croatia
RAISED BY SWANS Canada
RED ROOM CINEMA United States
RED SPAROWES United States
THE REDNECK MANIFESTO Ireland
REGA Japan
REMINDER Sweden
RESERVE DE MARCHE Russia
RETROVERTIGO Venezuela
RHONE United States
RIDING PÂNICO Portugal
RIDING THE DIPLODOC Russia
THE ROCK OF TRAVOLTA United Kingdom
ROCKET MINER United States
RODAN United States
ROSA PARKS Hungary
RUMAH SAKIT United States
RUSSIAN CIRCLES United States
SADDLEBACK Australia
SADGAYERS United States
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THE SAMUEL JACKSON FIVE Norway
SARAX Chile
THE SATELITE Peru
SAVAGE LUCY South Africa
SAWHORSE United States
SAXON SHORE United States
SCIENCE IN THE CAVE United States
SCRAPS OF TAPE Sweden
SDNMT Germany
THE SEA LIKE LEAD United States
SEAWORTHY Australia
SEMIOSIS Romania
SENNEN Netherlands
SEPTEMBER MALEVOLENCE Sweden
SEQUENCE PULSE Japan
SET FIRE TO FLAMES Canada
SGT. Japan
SHALABI EFFECT Canada
SHAPES STARS MAKE United States
SHORA Switzerland
THE SHY TRAFFICKER United States
SICKOAKES Sweden
SIGUR RÓS Iceland
SILENCE KIT Russia
A SILVER MT. ZION Canada
SIOUM United States
THE SIX PARTS SEVEN United States
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THE SLEEP DESIGN United States
SLEEPING PEOPLE United States
SLEEPMAKESWAVES Australia
SLEEPSTREAM Greece
SLOW SIX United States
(THE) SLOWEST RUNNER (IN ALL THE WORLD) United States
SOLKYRI Australia
SOMMA Russia
SONNA United States
SONNÖV Spain
SOULS VIBRATING IN THE UNIVERSE United Kingdom
SOUNDS LIKE THE END OF THE WORLD Poland
SOUVARIS United Kingdom
SOUVENIR'S YOUNG AMERICA United States
SPACES United States
SPARKLE IN GREY Italy
SPARROWS SWARM AND SING United States
SPEAKER GAIN TEARDROP Japan
SPURV Norway
STAR FK RADIUM United States
STARSCREAM United States
STEARICA Italy
STERLING United States
STORMS Croatia
THE STRANGE DEATH OF LIBERAL ENGLAND United Kingdom
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SUMMER FADES AWAY China
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Japan
TENA NOVAK Croatia
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THE BEAUTY THE WORLD MAKES US HOPE FOR France
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THE END OF THE OCEAN United States
THE GLUTTON Norway
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THEM, ROARING TWENTIES United States
THESE MONSTERS United States
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THIS IS YOUR CAPTAIN SPEAKING Australia
THIS WILL DESTROY YOU United States
SAM THOMAS United Kingdom
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TO DESTROY A CITY United States
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WASSERMANNS FIEBERTRAUM Multi-National
WATTER United States
WE ALL INHERIT THE MOON United States
WE ARE KNIVES United Kingdom
WE VS. DEATH Netherlands
WE'RE FROM JAPAN United States
WEARY EYES Russia
WHYOCEANS China
THE WINCHESTER CLUB United Kingdom
WOLVES IN ARAMID United States
THE WORLD ON HIGHER DOWNS United States
WORLD'S END GIRLFRIEND Japan
XMENOSUNO Mexico
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