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    Progarchives, the progressive rock ultimate discography

    POST ROCK/MATH ROCK

    A Progressive Rock Sub-genre


    From Progarchives.com, the ultimate progressive rock music website

    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.

    Current team members:
    as at 1/3/2020

    Luca (octopus-4)
    Keishiro (DamoXt7942)

    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

    4.31 | 93 ratings
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    4.32 | 83 ratings
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    4.14 | 560 ratings
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    4.13 | 578 ratings
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    4.09 | 413 ratings
    F# A# ∞
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    4.13 | 82 ratings
    SOUNDTRACKS FOR THE BLIND
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    4.08 | 193 ratings
    ENTER
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    4.16 | 46 ratings
    VIXIT
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    4.13 | 59 ratings
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    4.06 | 266 ratings
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    4.80 | 7 ratings
    ATLAS
    American Dollar, The
    4.33 | 17 ratings
    PIEONEAR
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    4.24 | 24 ratings
    HOW LONELY SITS THE CITY
    Ascent Of Everest, The
    4.06 | 108 ratings
    ONE TIME FOR ALL TIME
    65DaysOfStatic
    4.06 | 86 ratings
    THE EXTENT OF DAMAGE
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    4.16 | 31 ratings
    KING NINE
    Blueneck
    4.06 | 84 ratings
    CODENAME: DUSTSUCKER
    Bark Psychosis
    4.03 | 147 ratings
    ULVER & TROMS?CHAMBER ORCHESTRA: MESSE I.X - VI.X
    Ulver
    4.80 | 6 ratings
    SMALL YEARS
    Ana Never
    4.09 | 49 ratings
    PHANTASIA
    Lite

    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

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    Latest Post Rock/Math rock Music Reviews


     Equal Unequals To Equal by TFVSJS album cover Studio Album, 2013
    3.00 | 1 ratings

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    Equal Unequals To Equal
    tfvsjs Post Rock/Math rock

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

    — First review of this album —
    3 stars I'm not sure what it is about post-rock and math rock bands that makes them want to be so cryptic but as time presses on many of these acts just get weirder with their band names and grammar bending album titles. TFVSJS is a 5-piece all instrumental band from Hong Kong that sits somewhere between the world of cyclical post-rock and the choppier hyperactivity of math rock. Having started out as a post-hardcore band with elements of screamo, this mathier-than-thou outfit has matured into a bizarre mix of Mogwai inspired post-rock hypnotic melodic cycles peppered with crazy complex rhythms that belie the fact they have emerged from the Far East.

    Sounding more like some nerdy band from Chicago or anywhere within a 100 mile radius, TFVSJS tackles this American style of instrumental dynamics quite well and has established itself as one of Hong Kong's best kept secrets. The band has been around for about a decade and released its debut "equal unequals to equal" back in 2013 which featured a unique style of technical math rock that showcases the twin guitar deliveries of Adonian Chan and Milk Tsang along with Sean Pang on bass and the doubling drumming prowess of Chapman So and Antonio Fung. This is a noisier style of math / post-rock than the usual contenders with not only those lush clean guitar driven passages but plenty of angsty distorted grit holdover from the days of hardcore.

    "equal unequals to equal" surreptitiously sucks you in with its classic post-rock goods that includes a simple rhythmic drive and catchy easily recognizable melody that repeats to infinity but then adds the usual touches of ratcheting up to clamoring crescendoes however on the way there are plenty of nerdy freak-outs that include jittery time signature bombast as well as deafening tones and timbres at war with each other like a Jackie Chan movie being playing at a demolition site. The musicians excel at alternating between soft seductive passages and then pulling the rug out from under your feet and hammering you with unrelenting dissonance and drama.

    This is the type of music that i swear is inspired by reading computer programming codes as even the titles alternative between Chinese and English with the fifth track featuring both languages: "之 /between/間." While i wouldn't consider TFVSJS's debut to be anything amazingly groundbreaking, it sure is a more pleasant listen than many average post-rock albums as it understands the need to fortify the repetitive grooves with some sort of contrast to avoid an impending snoozeville. The highlight of this band is the precision that is involved in the math rock aspects although the musicians only implement such attacks in context of the post-rock fluidity. Overall a pretty decent listen although not as brilliant as some of the more accomplished bands in the genre.

    3.5 but can't quite pull the 4 star roundup trigger

     Tom's Story by TOM'S STORY album cover Studio Album, 2016
    3.00 | 1 ratings

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    Tom's Story
    Tom's Story Post Rock/Math rock

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

    — First review of this album —
    3 stars Both math rock and post-rock have gone global at this point but these styles of music are still primarily associated with the middle section of the USA and Canada with a few outliers like the UK's Bark Psychosis and Mogwai and Iceland's Sigur R's. The Philippines is not what comes to mind when thinking of this musical style though but that's exactly where this band comes from. TOM'S STORY is an instrumental rock trio based in Manila and consists of Tom Naval on bass, Gabba Santiago on guitars, and Christer "Degs" de Guia on drums. The three have been high school friends since 2010 when they unofficially formed this band but as the years went by the love of music grew and they began to take it more seriously.

    After playing live shows for years this trio opened for band's like Silent Scenery from Malaysia and then released a few tracks on split EPs with Legarda and Monochrome. While starting out more in the realms of punk rock, the trio toned down its rowdy rock ethos into a more placid style of post-rock with a few math rock sprinklings on its eponymously titled debut album which came out in 2016. This is one of those bands that relishes in the simplicity of it all much like Australia's Dirty Three this outfit keeps the cyclical melodic loops humming along for an album's run with subtle variations oozing out of every cadence. The guitar tones are warm and inviting as are the bass counterpoints. The drums are on the mellower side and the music never really heats up past simmer.

    Sounding most like Mogwai this band tends to get stuck in a repertoire that is a bit predictable with each of the ten tracks pretty much sounding like the next but with a crisp clean production and nice movements from semi-upbeat rhythms to softer passages, the guitar arpeggiated rich processions are quite pleasant however this is the kind of music that makes decent background noise while doing other things but doesn't quite muster up enough creative content to sustain my interest for an album's run of material. TOM'S STORY is more noted for its energetic live performances where they have mastered the art of audience interaction but as far as a studio album's worth of material they haven't quite mastered the art of keeping things diverse enough to make the album a fun active experience. Only the first album so who knows what the future will bring but as far as this one goes, it's OK and not much more.

     Metropolis by PHYSICS HOUSE BAND, THE album cover Live, 2020
    4.00 | 5 ratings

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    Metropolis
    The Physics House Band Post Rock/Math rock

    Review by TCat
    Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

    4 stars The Physics House Band is a math rock band that is obviously flying under the radar of complex, progressive music lovers everywhere. I ran across them by accident and didn't think much about them until I was reviewing new releases a few days ago. The band formed back in 2011, releasing rather short albums here and there that have been labeled as experimental, but that might be a bit misleading except for the fact that they are pushing the boundaries of math rock into some exciting territory. They have also worked and toured with great bands like 'Jaga Jazzist' and '65daysofstatic', other innovators in their genre just like they are.

    I usually don't get that excited about live albums, let alone consider them for one of the best of the year, but 'Metropolis' is definitely one that is in the running. The albums the band has released in the past have been short. This live album, recorded before a small invited audience at Metropolis Studios in London, is an exception to this as it runs a hefty 50 minutes (hefty in comparison to their albums that typically don't even reach 30 minutes). This allows the listener to more fully experience their sound, which is surprisingly varied and almost always complex. But the dynamics and mood changes are awesome.

    Except for one minor flaw, the track placement is perfect. Most of the first half consists of more involved works that are longer. Tracks 1, 3 and 4 make up the three parts of what is called Death Sequence'. They all come from the EP of the same name. These are dark and somewhat sinister tracks that are quite obviously tied together, and give the listener insight into how dark and complex the band's music can be. Stuck in the middle of these (track 2) is the much happier and infectious 'Calypso' which comes from the album 'Mercury Fountain'. This is an excellent track, however, it is totally out of place stuck in the middle of the dark trilogy. That is the one slight drawback of the album, but, its quite minor. Track 5, on the other hand, is much better placed after the Death Sequence final part, this track being the melding of 'Holy Caves/Surrogate Head', which is a definite, hard and heavy epic track at 12 minutes, and consists of some amazing improvisation that can remind one of some excellent space rock style jamming which often gets overtaken by the sprawling sax solos that almost seem violent.

    The rest of the album consists of shorter tracks that mostly come from 'Mercury Fountain' (except for track 7 which comes from the album 'Horizons/Rapture'). The aforementioned track 'Calypso' would have fit better in this part of the album. 'ObeliskMonolith' is a complex and somewhat noise affair at the onset, but it later calms down halfway through, but finishes in the same manner that it begins. 'Obidant' is more atmospheric and ventured into avant territory as it slides mysteriously along, but suddenly explodes into complexity later on. 'Impolex' carries on almost seamlessly from the previous track, synths becoming a bit more evident now, and the somewhat organized structure that is introduced soon gets swirled into the whirlwind that is created. There is another instance of spacey guitar that takes the track into drone territory as the instruments echo into oblivion. A sudden interruption takes the listener into the quiet pensiveness of 'The Astral Wave' which sounds much more acoustic with soft guitar, piano and chimes effects. The track shimmers along, cooling down the wild atmosphere from before. Then the drums bring in a nice but fuzzy part led by the guitar, and intensity quickly builds to a heavy ending. It all ends with a short 'Mobius Strip II' which pretty much summarizes everything.

    This album is quite an amazing display of this talented band showing their wide range of style, which is in and of itself, quite surprising for a math rock band. Overall, it can seem to consist of two parts, the darker first half and the more free-wheeling, heavy complexities of the 2nd half. All the way through this album, the bass stands out quite heavily, and that is another thing that keeps this album engaging. The sax is present almost all the way through, but it finds itself meshed in with the other sounds and wildness that is going on. Most listeners will not even notice this album is live as the audience sounds are cut right out, but there is a bit of a 'off-the-cuff' sound to it all so you know that there are no overdubs, but that this tight and talented band can produce this music on the spot. The band obviously thrives in a live environment, and this album is more of a sizeable helping of their style, and you definitely feel satisfied by the end of the album. Those that love math rock or any kind of progressive music that pushes the boundaries of that genre will love this album and it will probably appeal to lovers of fusion. Also, any lover of heavy bass will want to listen to this album. Excellent, quirky, tight and engaging, this 50 minutes will still be over before you know it. 4 1/2 stars (rounded down to 4).

     Evaporate by MIDAS FALL album cover Studio Album, 2018
    4.95 | 3 ratings

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    Evaporate
    Midas Fall Post Rock/Math rock

    Review by BrufordFreak
    Collaborator Honorary Collaborator

    5 stars It's nice to hear a softer, more delicate, even acoustic side of both Elizabeth and Rowan, as on songs, "Sword To Shield," "Awake," and "In Sunny Landscapes" as well as all of the orchestral strings so clearly, integrally, even in isolation. The band has definitely taken to exploring their options outside of the Post Rock formats and sounds that they began with, yet power songs like "Bruise Pusher," "Glue," "Dust and Bone," and "Howling at the Clouds" are as devastating in their impact as songs from previous releases.

    1. "Bruise Pusher" (3:57) edgy sound coming from the sharply distorted guitars makes this one feel raw despite clean drums and Elizabeth's harp keys and long, sustained vocalizations. Still, this is fresh, potent, and packs a wallop in the instrumental sections. (9/10)

    2. "Evaporate" (5:38) spacious chamber music opening turning electro-trip-hoppy with the advent of Elizabeth's long held reverbed vowels. Delicate piano flourishes alternate with sections in which heavy bass parts and full strings fill the soundscape. Definitely a top three song for me and one of my favorite Midas Fall songs of all-time. (9.5/10)

    3. "Soveraine" (5:45) Elizabeth singing between the spacious aural field of multiple cello tracks, delicately picked (later, tremoloed) guitar notes. The loud arrival of what-feels-like orchestra waves lasts a brief few seconds before backing away, but then another series of waves washes in via Rowan's tremoloed guitar. Another quiet section is marched along by what feels like a tympanic rhythm pattern as guitars and strings rise and fall around Elizabeth's steady singing. (8.75/10)

    4. "Glue" (3:52) The most "normal" Midas Fall song on the album, with a more normal CURE-like full sound palette and multiple vocal tracks and approaches--the lead one being in Elizabeth's trademark plaintive voice. The song builds to a mini-crescendo in the third minute before breaking for a little DEPECHE MODE-like modular synth bridge, then bursting forth into a heavy instrumental section to finish. (9/10)

    5. "Sword To Shield" (4:00) opens with a very spacious soundscape with only a tinkering piano and delicate vocals filling the room. Cello eventually and sporadically joins in before a slow Post Rock soundscape fills the aural pathways in the third minute. But then it all reverts to the spacious sparsity of the opening section in the fourth minute for Elizabeth's final vocal input. The end is full band but still not mega-crescendoing like typical Post Rock fare. (9/10)

    6. "Dust and Bone" (4:01) one of Midas Fall's masterful renderings in which they seem to be expressing the fragility of the human mind. Elizabeth is masterful as is the music in perfect support of the theme and intended mood. A top three song for me. (9.5/10)

    7. "Awake" (2:13) gently picked guitars back Elizabeth's distant-sounding voice--a voice that is almost spoken, almost absent-minded, almost whispered. Then she sings in a stronger voice a "You are" chorus finishing the song by completing her sentence with the title word. Cool! (4.75/5)

    8. "In Sunny Landscapes" (5:27) Enya-like voice and sustained single notes (and, later, chords) from Rowan's guitars open this song. Bass, strummed electrified acoustic guitar and cello join in during the vocal break in the second minute, then Elizabeth rejoins and quickly shifts to a very high register for some emotional singing. By the fourth minute I can't help wondering if this is going to stay in the realm of modern pop songs or develop into something more but, instead--surprise--the sound de-escalates and thins for a delicate vocal section sung in Elizabeth's normal speaking range. The following musical patch is interlaced with wordless vocals among the keys, guitars, bass, and sparse drums before Elizabeth finishes the song with one last verse in her high voice. (9/10)

    9. "Lapsing" (4:09) opens with two low single note drones before zither-like piano-keyboard and distant cymbols and guitar slowly join in. The pace is ultra slow, drawn out, with a soundscape reminiscent of early MONO pieces (You Are There and Hymn to the Immortal Wind). The second half of the song sees the addition of cello and deep keyboard bass line as Elizabeth's vocals get a little creepy. Bass drum kicks in as sonic field fills. It's ominous and unsettling. But good. (9/10)

    10. "Howling At The Clouds" (4:23) opens like a Post Rock evolution of a CURE song before breaking down to an emptiness in which Elizabeth's voice enters and fills our souls. The return of the music en force is immaterial to Elizabeth's singular intent or delivery, yet the instrumental section that follows her cessation is quite powerful-- seeming to reinforce or reverberate the effect of her message. This is awesome! Post Rock at its best--at its most pure. (9.5/10)

    Five stars; a minor masterpiece of progressive rock music! This is the least Post Rock conforming album that I've heard from Elizabeth and Rowan but it is my favorite!

     Wilderness by MIDAS FALL album cover Studio Album, 2013
    4.95 | 3 ratings

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    Wilderness
    Midas Fall Post Rock/Math rock

    Review by BrufordFreak
    Collaborator Honorary Collaborator

    5 stars I just found that this band that has been a favorite of mine for almost ten years is in the PA database! Quelle suprise! This is an awesome female-led Post Rock with singer/songwriter/guitarist Elizabeth Heaton and Rowan Burn on lead guitar. Ms. Heaton definitely has in her possession one of the most powerful, beautiful, emotionally expressive voices I've heard from the 21st Century. Her voice is so nimble and her singing style so unpredictable that I find myself often thinking that there must be a second voice--or second track--being sung. But it's not so! It's all her! Brilliant and refreshingly different song-writing throughout. Special shout-out to the drummer, Chris Holland: Mark Heron rules!

    Five star songs: the haunting, heavy, heart-wrenching, triphoppy opener, 1. "The Unravelling King" (5:37) (10/10); the surprisingly layered, textured 4. "Our World Recedes" (5:21) (10/10); the power vocal and TORI AMOS sound of 9. "BPD" (4:27) (10/10); the sensitive, dreamy and careful finale, "Wilderness" (5:42) (10/10) 6. the short but packs a punch 6. "Fight First" (2:12) (9/10); 3. "Carnival Song" (5:04) (9/10); and, the deceptively delicate, Sarah MacLachlan-like; "The Moon and The Shine" (5:50) (9/10).

    Five stars; a minor masterpiece of progressive rock music.

    The best Math Rock/Post Rock album of 2013.

     Evil Bear Boris by I WILL KILL CHITA album cover Studio Album, 2015
    3.29 | 9 ratings

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    Evil Bear Boris
    I Will Kill Chita Post Rock/Math rock

    Review by kev rowland
    Special Collaborator Honorary Reviewer

    3 stars This album was originally released in 2015 by Long Arms Records on CD and vinyl, and then in 2019 the addicted label made it available digitally. IWKC, or I Will Kill Chita, do sometimes work under the name of Evil Bear Boris. In fact, different versions of some of these songs can be found on the Evil Bear Boris live 2013 album 'Boris In Action', while they also released an EP 'Das ist Boris'. This is the second album I have come across from IWKC, as I have already reviewed 2017's 'Hladikarna', but this is quite different again. Although it features the same core quartet of Nikita Samarin (drums, percussion), Nick Samarin (keyboards, bass), Andrey Silin (keyboards, theremin) and Artem Litvakoskiy (cello) they have added many more additional musicians this time on strings and brass.

    The result is a post rock album quite like anything I have previously come across, as it definitely contains many elements of modern classical music while the band themselves describe it as sympho-punk with turbobass or bearcore. We have enough sub genres of sub genres and I am not really sure if the world is ready for something called bearcore, but post rock with avant tendencies and a desire to include some elements of Art Zoyd is how I would best describe this. Mostly instrumental, this veers between times when it is almost unlistenable to others when it is distinctly melodic, often with the same bass line underneath which keeps it all together. The Addicted label are doing a great job continuing to make albums like this available in a digital format, and there is no reason for not discovering some of the great music coming out of Russia with all these being made available on Bandcamp. The label state they support all types of psychedelic music, and tag themselves with forward-thinking, psych, frogressive, stoner, doom, sludge, experimental, jazz, punk, hard rock, noise rock, avant, ambient, improv, hip hop, post rock\metal, powerviolence, funk, electronic, nevermind, and IWKC certainly tick a lot of those boxes.

     Metempsychosis by HUBRIS. album cover Studio Album, 2020
    3.00 | 1 ratings

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    Metempsychosis
    hubris. Post Rock/Math rock

    Review by Windhawk
    Special Collaborator Honorary Collaborator

    — First review of this album —
    3 stars Swiss band HUBRIS. trace the beginnings of their endeavors back to 2014, and from the starting point and until today the band have released two studio albums. Following what the band describes as a restructure they now return with their third album "Metempsychosis", which is set for a March 2020 release through Australian label Art As Catharsis.

    Hubris. is a post-rock band. They describe themselves in that manner, and they live up to the expectations one has with this style of music as well. Instruments are used and applied as textures on a regular basis, and the compositions have that fine movement and gradual development that is something of a trope with post-rock bands. This alongside with the occasional more sudden twists of events that adds a stronger nerve to the proceedings. And while mostly instrumental, this album actually has the odd track that features if not vocals then at least spoken words. The song in question is called 'Icarus', and the contents of the spoken words here is, pretty much, a retelling of the ancient Greek myth of said person here given a musical backdrop.

    Exceptions aside, post-rock fans should feel right at home with this album. The specialty of this band, at least on this album, appears to be the use of echoing and reverberating guitar notes, which we are given liberal amounts of, especially in the calmer sections of the compositions as well as the ambient-oriented interludes which is another characteristic feature of the band. The compositions develop in part by subtly adding layers and developing supporting layers of sound to form arrangements that in their full development are either majestic or energetic, depending on pace as well as the intensity of the individual instruments. Variation comes in the shape of harder, tighter section at the midpoint or in the final third of the songs, with the bass becoming more prominent and underlying guitar riffs forming a harder and heavier core foundation for those parts. Often with floating keyboards overlays, gentler plucked guitar overlays or a combination of both. The more fully developed or the harder edged sections then has a tendency to segue over to the aforementioned more delicate, ambient interludes, which then either gradually build up to more layered affairs that lasts out the song's length or returns to an earlier and more beefed out section again.

    The songs flow smooth and fine, sometimes more playful, sometimes more melancholic, sometimes more energetic. The differences between the songs can be rather subtle, apart from the odd one out 'Icarus' as described earlier, and the mix and production is excellent throughout as well. The instruments are finely balanced, and a shimmering beauty is something of a trademark for this production.

    For my sake the only problem I have with this album is that it doesn't engage me on a deeper level. The moods and atmospheres are elegant and beautiful, the compositions are well crafted and developed, but for my taste in music the totality just doesn't manage to captivate my attention. That being said, I can recognize a good thing when I encounter it, so while this album isn't one I'll be all that passionate about on a personal level, I'm rather certain that fans of post-rock in general and those with a taste for the more tranquil and elegant varieties of the style in particular should find a lot to enjoy on this album.

     All India Radio + Josh Roydhouse - R E A L M by ALL INDIA RADIO album cover Studio Album, 2020
    5.00 | 1 ratings

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    All India Radio + Josh Roydhouse - R E A L M
    All India Radio Post Rock/Math rock

    Review by TCat
    Special Collaborator Eclectic / Prog Metal / Heavy Prog Team

    — First review of this album —
    5 stars All India Radio's Martin Kennedy returns to the signature ambient and atmospheric layered sound the project is famous for after their 2019 experimental turn for the album 'Eternal' with the 2020 release entitled 'R E A L M' and brings along Josh Royhouse to add his piano to these surreal and ethereal soundscapes. This is the 2nd time that Royhouse has collaborated with Kennedy (the 1st time was with the 2010 album 'Piano and Ambience').

    This time around, the tracks have distinct names and also sound more distinct on top of that, the music is more 'organized' if you will, into specific atmospheres and ideas. The music is ambient with Kennedy creating layered drones and synth sounds to create an orchestra of lush and beautiful music, and Royhouse melds his piano into the mix, sometimes using electronic treatments to add echo and atmosphere, and other times just coming in 'naked' with a more organic sound. Kennedy also adds his guitar atmospherics, now feeling comfortable enough to do his own 'slide' style guitar notes without help from his usual guest Graham Lee. This gives him more control to make those sounds seem more implanted in the music.

    Many times through this album, Kennedy seems to present a canvas of musical drones and tones over which Royhouse improvises simple and lovely melodic notes like in the track 'Thin Air'. Other times, the two are more 'joined' in the effort as in 'For the Birds'. There is no need to worry about variation in the tracks either. Yes they are quite ambient and lush, but they each have their own distinct traits. For example, 'Billow' has a darker feel to it provided by the viola/cello effects created and a slight damper on the brightness of the piano with airy effects surrounding your head.

    There is always a somewhat dusty and subdued feel to All India Radio's style which creates a certain warmth to the music, no matter what the overall soundscape or song is trying to convey. If the sound is cold and lonely, as in 'On a Hill', you still feel secure and comfortable in that signature warm blanket of style. It also takes away the stark sound that is often a trait in ambient music. Even so, the music can still pierce your soul, again using 'On a Hill' as a great example of this. Then there is Martin's use of effect pedals to help bring that expansive drone like feel to the airy guitar layers, the way he does in 'Folding Space', as his sound layers back up the heart-rending and soft chords of the piano. The muffled synths take advantage of the piano chords to create their own melodic sequence later in the track.

    The extra bonus tracks that are available on the digital download version are actually remixed versions of the tracks on 'Piano & Ambience', this time, however, they are separated and given specific names.

    This is layered and melodic ambience at its best. The music is astoundingly beautiful and will sweep you up easily in its embrace. There is no percussion or rhythm present in any of these tracks, allowing your mind to just drift freely along as you listen. Everything is mixed to perfection with no stray notes or sounds to distract. This is the perfect album for you to lose yourself in when you are able to find a moment for yourself, or to just put on when you need something relaxing and non- abrasive.

     Harha by HORTE album cover Singles/EPs/Fan Club/Promo, 2018
    4.00 | 1 ratings

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    Harha
    Horte Post Rock/Math rock

    Review by DamoXt7942
    Forum & Site Admin Group Avant/Cross/Neo/Post Teams

    — First review of this album —
    4 stars 13 minutes like a fantastic dream for me. Let me say thanks to Eetu for recommending a Finnish Post / Psych project HORTE (he's attended their gigs in Helsinki, what an envy really). They say this EP "Harha" was performed and recorded in Roadburn Festival 2018. At first, when I stumbled upon this album and listened to it carefully, I assumed this album would have recorded in a studio and remixed strictly, without any suspicion. That is, their performance in this creation was perfect and excellent. Dissonant electronic phases, noisy bass friction, sticky drumming based upon downtempo, stoner rhythmic ground, and dreamy, stimulative melody lines ? every single moment in their 'quarter hour' makes me crazy. They definitely have much more grandeur and delicacy in their inner soundscape than other Post-Rock / Psych-Prog outfits. Wondering what essence would bring up such gorgeousness or sensitiveness, and if I get immersed in their obscurity and mystique (nobody except themselves knows their real nature). Surely it's not just me, every post / psych fan should join their gig anytime soon. Highly recommended, again mentioned.

    EDIT: According to Eetu's comment, this album was recorded in a studio and sold in Roadburn Festival 2018. Sorry for my misunderstanding, but absolutely it's crazy fascinating.

     Live USA 17 (Rosfest 2017) by FIERCE & THE DEAD, THE album cover Live, 2019
    5.00 | 1 ratings

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    Live USA 17 (Rosfest 2017)
    The Fierce & The Dead Post Rock/Math rock

    Review by kev rowland
    Special Collaborator Honorary Reviewer

    — First review of this album —
    5 stars In 2017 TFATD released a live album which was recorded at the Ramblin' Man Festival, in July the year before. Now we have in front of us another live album which was recorded slightly more than a year from the previous album, but with no duplicated tracks whatsoever. This was recorded at the mighty Rites of Spring Festival (RosFest) in Gettysburg, PA in 2017, and includes tracks from the two studio albusm released at this time, 'If It Carries On Like This We Are Moving to Morecambe' and 'Spooky Action' as well as previewing quite a few numbers from 'The Euphoric' which wasn't released until the following year. So not only have we got a relatively small instrumental progressive rock band from the UK playing at one of the most important progressive rock festivals in the world, they are playing music no-one there will have ever heard. The guys must carry their balls around in a dumper "Truck".

    I have loved this band right from when I first heard from guitarist Matt Stevens, and he and his partner in crime Steve Cleaton weave tapestries from the musical threads, sometime giving us a delicate picture while at others it is far more brutal. Then behind them there is Kev Feazey producing some of the heaviest distorted bass lines one is ever likely to hear, and drummer Stuart Marshall just refuses to sit quietly and behave himself. This is guitar-driven instrumental rock which somehow always reminds me of Ozric Tentacles but sounds nothing on earth like them, as they create sounds and moods which create a brand-new world as they never conform to what anyone thinks they should be doing. This is a rock band first and foremost, just listen to the way they turn up the distortion and volume in the right places on "Spooky Action", creating a staccato attack on the sense which then allows them to of course go and produce something completely different.

    TFATD can be delicate, quiet, almost gentle as they drift slowly through the progsphere, but there are other times when they just let it all go and then they are a force to be reckoned with. Surely one of the most important bands around, I just wish the guys would come over here to play but as that is never likely to happen I will just have to keep playing this on repeat.

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