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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.

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 | 84 ratings
RANDOM AVENGER
Magyar Posse
4.29 | 99 ratings
CHILDREN OF GOD
Swans
4.76 | 11 ratings
SILENCIA
Hammock
4.13 | 588 ratings
LIFT YOUR SKINNY FISTS LIKE ANTENNAS TO HEAVEN
Godspeed You! Black Emperor
4.12 | 568 ratings
罣芓IS BYRJUN
Sigur R髎
4.81 | 9 ratings
ATLAS
American Dollar, The
4.09 | 418 ratings
F# A# ∞
Godspeed You! Black Emperor
4.13 | 84 ratings
SOUNDTRACKS FOR THE BLIND
Swans
4.76 | 8 ratings
SMALL YEARS
Ana Never
4.07 | 195 ratings
ENTER
Russian Circles
4.06 | 268 ratings
SHADOWS OF THE SUN
Ulver
4.33 | 18 ratings
PIEONEAR
Silence Kit
4.24 | 24 ratings
HOW LONELY SITS THE CITY
Ascent Of Everest, The
4.06 | 111 ratings
ONE TIME FOR ALL TIME
65DaysOfStatic
4.11 | 48 ratings
VIXIT
Battlestations
4.02 | 156 ratings
BERGTATT - ET EEVENTYR I 5 CAPITLER
Ulver
4.05 | 88 ratings
THE EXTENT OF DAMAGE
Battlestations
4.09 | 50 ratings
PHANTASIA
Lite
4.50 | 9 ratings
NEW LEVELS NEW DEVILS
Polyphia
4.45 | 10 ratings
LABRADFORD
Labradford

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

IN EVERYTHING GIVE THANKS
Tenebre
TREE, SWALLOW, HOUSES
Maps & Atlases
JINX
Kammerflimmer Kollektief
ACTUAL MUSIC QUARTET RSM
Actual Music Quartet RSM

Latest Post Rock/Math rock Music Reviews


 Morula by PICTURES FROM NADIRA album cover Studio Album, 2020
4.00 | 1 ratings

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Morula
Pictures From Nadira Post Rock/Math rock

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

— First review of this album —
4 stars A German Post-rock combo PICTURES FROM NADIRA has launched their second creation "Morula" in 2020 via Fluttery Records. Curious what intention they would show upon this album, but sounds like their latest opus has more of cool heavy rock and more of grunge like 90s Seattle-oriented great outfits like Pearl Jam or Alice In Chains. We can feel their melodic development via this stuff. Not simply catchy nor acceptable but also powerful and intensive their soundscape has got, let me say. The 33 minute biographical sketch of theirs gives us refined, strict heaviness.

The first "Odessa" is a supershot filled with Soundgarden-y heavy sticky grungey atmosphere. Explosive deep soundflow created by the rhythm section is very hard but simultaneously heartwarming, especially upon rich melodiousness. Psychedelic guitar theatre in the middle part is also hallucinogenic and comfortable. This track has a definite symbolic meaning above mentioned. The following andante "Katatura" is another good piece. Massive steadiness all through the song should relax us. The last sound magnification drives us into madness.

The former part of "Adatom" is veiled in slow tempo ambient psychedelia that notifies us upcoming metallic improvement. Not so weird nor eccentric but intriguing and energetic. The first part of the last suite "Messn I" is full of enthusiasm of repetition. Sounds like the topnote of grand vin. Slow, smooth authentic flavour of "Miku" the middle paragraph is kinda stabilizer. The last moment "Messin II" is drenched in extraordinary, bombastic creativity to kick us away out of this dimension.

Their 33 minute fantasy is beyond expression.

 Nadira by PICTURES FROM NADIRA album cover Studio Album, 2016
4.00 | 1 ratings

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Nadira
Pictures From Nadira Post Rock/Math rock

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

— First review of this album —
4 stars Another fantastic debut shot from Munich, Germany. PICTURES FROM NADIRA were founded as a promising post-rock quartet for launching deeply heavy, shoegaze, addictive sound bombs. Their first album "Nadira" has definitely not only dissonance but also extraordinary precision via their distorted instrumental vibes and psychedelic intermediators, and obviously absorbs the audience into the sea bottom. From the very beginning of the titled track, we should be immersed in such a crazy hallucinogenic topnote. Incredible harmonized attacks are quite tempting. "Kawenzmann" is more and more slowtempo, alluring sound hunter for us. The following "Denebula" featuring repetitive phrases of comfort by electropsych guitars reminds us of something like Des Rallizes Denudes, one of Japanese Psych Giants. Smooth melodic texture is cool and charming. Brilliant but complicated guitar ensemble in "Riji al Awa" has mysterious attractiveness (or magic) in the entire album drenched in tranquil atmosphere. The last longest entertainment "Nautilus" possesses colourful, diverse sound solutions - long tone noises, metallic experiments, atmospheric movements, or so ... sounds like they would squeeze all of their musical essence into this song.

In conclusion, cannot deny this album is not so innovative nor creative but their strong intention for post rock should be appreciated. Cheers for wonderful soundscape and well-created debut opus.

 Central Belters by MOGWAI album cover Boxset/Compilation, 2015
3.87 | 6 ratings

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Central Belters
Mogwai Post Rock/Math rock

Review by sgtpepper

4 stars If you don't have any Mogwai albums, don't want to take just a short compilation and simultaneously want to collect rarities, this is the 3-CD release to go for. You have mostly lighter laid back tracks. sometimes compensated by intensive numbers like "We're no here" or "Batcat". The absence of vocals helps focus on the atmosphere. What may be surprising is quite a good proficiency and use of keyboards, preferably piano that is usually secondary on post-rock albums. Also, Mogwai aren't content to just play a song and that's it, they can add colourful arrangements, guitar decorations and suitable drum pattern so you get a first-class cake. "Rano pano" is somewhat of a hymn with its melody and cresciendo rounds. Well recommended to listeners who want to start exploring Mogwai.
 The Glowing Man by SWANS album cover Studio Album, 2016
3.86 | 79 ratings

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The Glowing Man
Swans Post Rock/Math rock

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

4 stars This album by Swans sounds nothing like Swans of many years ago. That's no surprise to those that have followed their albums through the years. However, "The Glowing Man" does have a lot in common to those early, muddy and plodding albums. That common thread is the study of repetition. It's just not as thick as it used to be, however, it can be just as unrelenting and unnerving at times. No doubt that this album is much better than those early albums as the music is so much more varied and exploratory, expansive and epic now. This is the path they continue to follow, however "The Glowing Man" is probably one of the most apparent in showing Michael Gira's obsession with repetition and the development of repeating passages.

There are only 8 tracks on this monster of an album, and on the surface, it may seem like it could be chore to get through some of these tracks that push the half an hour mark, especially if it is based around repetition. However, the one thing that seems to stand out on this album which was less apparent on the previous album "To Be Kind" is that there are sudden shifts scattered throughout the album, especially on the longest tracks. This brings in a variable element that makes this album not stagnate so much. There are many times when you hear a repetition that seems to push the limit of you insanity, and just when you think the repetition of an idea has reached your limit, the song can suddenly go off into a completely different direction. That is what makes Swans stand out above the many post rock artists out there. While many of them follow formulas that sometimes get boring, this band continues to break new ground, and many of those other bands end up following in their footsteps. Swans is an innovative band and always has been, whether you like them or not. This is the case with this album, and the sudden shifts are what makes this album stand out in their repertoire. Other than that, with tracks as expansive as the ones on this album, it is very difficult to try to take each track apart and analyze it.

This is not one of my favorite Swans albums, but it is still one that I play through from time to time. I don't recommend it as one to start your Swans exploration with, but it still is an excellent album and sits just above the previous album, but not quite as good as "The Seer". Anyway, it is an excellent album for "experienced" Swans and/or progressive music fans.

 Vespertine by THIS WILL DESTROY YOU album cover Studio Album, 2020
4.00 | 4 ratings

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Vespertine
This Will Destroy You Post Rock/Math rock

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Over the many years of their existence This Will Destroy You founder members Jeremy Adam Galindo and Christopher Royal King have been known for their work in films such as 'Moneyball', 'World War Z', and 'Foxcatcher', but here they have turned their meme to something quite different, namely musical score the band composed for Chef Jordan Kahn's 2-Michelin Star restaurant 'Vespertine'. The concept is to provide the soundtrack to a dining experience, and is set in such a way that it starts with the arrival at the building, coming inside, meeting the chef in the kitchen etc. They premiered this album with the release of the song 'Kitchen' all the way back in 2017, but the album itself only came out a few months ago.

I was somewhat intrigued to uncover what was behind the concept of putting music to a meal, so checked out the restaurant where it all made sense as there is a mission statement which says 'Vespertine is the vision of Chef Jordan Kahn. The project was formed through a collaboration with architect Eric Owen Moss, and a group of renowned artists to re-imagine and explore the experience of dining. The convergence of food, art, architecture, music, and sculpture is woven throughout to create an immersive, multi-sensory event.' I am intrigued, so much so that if I ever find myself in Culver City in California, I am going to have to seek this out, as this album certainly fits that remit. It is dreamy, reflective, with lots of keyboards and plenty of muted extended guitar chords which have been treated with effects, and it surrounds the listener and takes them to a new place altogether. Playing this, I felt like I was in a very calm place, sat at the sea bottom, allowing myself to commune with what was all around me. The pressure and sound of the water combined with my own breathing being all I could hear, my sense both shutting down and opening up as I experienced something quite different indeed. At times it is almost Floydian, others Radiohead, and yet others Jean Michel Jarre, but always reflective and taking the listener into new directions. Definitely one which needs to be played on headphones and given proper attention to.

 Alignments by AESTHESYS album cover Studio Album, 2020
3.34 | 4 ratings

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Alignments
Aesthesys Post Rock/Math rock

Review by nick_h_nz

4 stars [Originally published at The Progressive Aspect]

Two years ago I was introduced to Russian band Aesthesys, via their album from that year, Achromata. The most exciting aspect of their music was the use of soaring violin parts over their post rock music. By no means the first post rock band to use this instrument, but easily the best of those I've heard (something that almost pains me to admit, as they edge out the marvellous band from my homeland, Shepherds of Cassini). This year's Alignments leaves us in no doubt that we are in for more of the same, with the violin making its presence known immediately ? and darn, Aesthesys founder, Nik Koniwzski, plays a mean violin!

The next thing that drew my attention on Alignments was the drumming of Artem Taganov. Now there was nothing wrong with the drums on Achromata, but the drumming here is on a whole other level. Even better, this seems to have upped the game of Sasha Coudray on bass, who shone anyway on Achromata, but is playing like a beast on Alignments. The rhythm section provides an almost constant gut punch, providing a wall of sound of their own, before I even take into consideration the strings and keys of Victor Krabovich (guitar, keyboards) and Nik Koniwzski (violin, keyboards).

What Aesthesys have done incredibly well, is to conjure up mental imagery of a techno-dystopian future with their music. Although there are no real similarities in sound, I'm often reminded of Muse's Simulation Theory, and Long Distance Calling's recent How Do We Want To Live?. All three albums mine the same sci-fi territory of replication, simulation and artificial intelligence, and come up with a retro-futuristic sound that conveys the part (or lack thereof) that humans might play in their own future. The band's Bandcamp page proclaims Aesthesys to be "robots' and neural net-works' most favourite progressive rock band, soon to be the official soundtrack of the AI uprising", and although it's written tongue-in-cheek, it's not hard to believe that if there were to be such an official soundtrack, Aesthesys would definitely fit the bill.

The music of Aesthesys in itself is uprising ? it's energetic, driving, and powerful. There may be more gentle and atmospheric passages, but for the most part this album is a beautiful and commanding rush. And, as you'd expect for a band whose target audience is apparently robots and neural networks, electronic. The use of electronica is not new to Aesthesys, but it's more prominent in Alignments than any previous album. Given the subject matter, this makes sense anyway, but it really does work well. Even when a composition is almost entirely electronic sounding, it is never overwhelming, and always so perfectly integrated into the sound. There are so many layers and textures of sounds in the music. It's all terribly complex and intertwined, and yet so simple and easy to listen to.

The one real surprise for me was Better Stranger, which may well be my favourite track on the album. It's almost like an '80s throwback with a contemporary and spacey finish. It might evoke the '80s for me, but it certainly doesn't sound dated. The rhythm section absolutely excel on this track, as they pound away under some quite gorgeous keys. And although it hits like a bomb, and stands out on the album, it really is simply a composition that more overtly shows the fusion of post rock and synthwave that Aesthesys have used on this album. And yet, it also sounded strangely familiar. I was thinking it reminded me of '80s King Crimson, or maybe Talking Heads. And then it clicked. It was Changes by Yes. Go ahead, listen to that song, and then Better Stranger. But don't listen too long to Yes, because Better Stranger is by far the more interesting and enjoyable. (And, dare I say it, more talented.)

Alignments gives us soaring strings, cinematic soundscapes, and the technological punchiness of electronic samples and synths. It's an ambitious and scintillating album that succeeds on every level. As good as the critically acclaimed Achromata was, Alignments is even better. This release deserves to be hailed as one of the greatest post rock releases of 2020, and I'm sure by the end of this year, it will be.

 Maserati VII by MASERATI album cover Studio Album, 2012
2.74 | 10 ratings

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Maserati VII
Maserati Post Rock/Math rock

Review by Heart of the Matter

2 stars Have you seen the cover painting of this album? Well, I represent myself the underlying beat of this music like the ondulating red desertic surface below, and then kicks in the guitar chordal sequences, just like the steel blue octahedrons rising above and up to the sky. Uh..., OK, but, is that good or what? I think it is, since the musicianship is fine, there's plenty of mutation in dynamics and rythmic articulation, the guitarist shows taste and imagination in his contrasting task, and... well, almost nothing more. The vocorder treated voice is just creepy and adds very little, if anything. In the end, the record come to pass without any sense of melodic or thematic identity, each track sounding like part of the alien landscape, and nothing else. Would you have expected something more? I do, and I miss it.
 Reset by NAVIAN album cover Singles/EPs/Fan Club/Promo, 2020
3.00 | 1 ratings

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Reset
Navian Post Rock/Math rock

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

— First review of this album —
3 stars Another delight has come from Oslo. A Norwegian unit NAVIAN founded in 2019 released爐heir first creation titled "Reset" this year, where is full of crazy powerful navigation for Heavy / Post / Math world. Even only a 20 minute ep drives you into another passionate dimension. And you could not imagine they are still young via their perfect instrumental technique and strong intention actually. From the very beginning of the first track "Black Space" you can get immersed in their magnificent, explosive play. Fascinating they have no deviation in the instrumental harmony. Composition is not so innovative indeed, but their youthfulness should have pushed enthusiasm爄nto the opus you can understand.

"Matcha Tea" is one of my favourite tracks. This stuff is filled with oriental, tribal燼tmosphere especially in the first phrase. Well there is a Japanese Sake brewery named?N鴊ne ? in Oslo ... we have strong friendship between Norway and Japan. The off-topic aside, through this fascinating song it can easily be imagined that they had such a mystic and heartwarming feeling upon drinking燼 cup of Japanese Matcha tea. Something exciting and tempting they are launching, by catchy, delightful playing. It's good for every爁an that爐hey play in a poppy manner, without any distortion nor tricky lines. "Schoolyard" is another fun. Soundscape is not complicated but quite acceptable. Melody and rhythm lines go forward as if they enjoy ball games in the schoolyard.as children.

Let me say it's so fantastic that they play simply and tightly their inner mind without any ornamentation. Can we look forward to their full-length creation in near future?

 Leaving Meaning by SWANS album cover Studio Album, 2019
3.83 | 10 ratings

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Leaving Meaning
Swans Post Rock/Math rock

Review by Lewian
Prog Reviewer

4 stars On Bandcamp, Michael Gira writes that "I dissolved the line up of musicians that constituted Swans from 2010-2017. Swans is now comprised of a revolving cast of musicians, selected for both their musical and personal character, chosen according to what I intuit best suits the atmosphere in which I'd like to see the songs I've written presented. In collaboration with me, the musicians, through their personality, skill and taste, contribute greatly to the arrangement of the material." There are well known names such as Ben Frost, Anna von Hauswolff, the Necks, and actually every single official band member who played on the previous Glowing Man album among the collaborators. This sounds like another new approach for this band, who went through many different phases in their long existence, although their last three albums were a rather homogeneous trilogy.

Yet, leaving meaning clearly bears the hallmark of Swans' most characteristic feature at least in recent years, namely the shamanic approach using monotonous rhythms and conjuring meditative vocals that slowly build up to trance-like ecstatic states, speaking to deep ancient layers of our conscious and subconscious existence.

There is in fact also change. The approach on leaving meaning is less openly aggressive and heavy, somewhat slower and cleaner, and dominated by acoustic instruments. I was pondering whether to say "more relaxed" here; more relaxed than Seer/To Be Kind/Glowing Man it is, but the atmosphere is still tense and dark and many of the songs are still relentless and won't let the listener's attention go for one second; despite Swans' strong use of post rock elements like the straight rhythms, the slow build ups, and the absence of traditional song structures, this isn't music to relax and calm down, it is still tense and captivating. The songs here are no longer than 12 minutes (on the previous three albums they had some more than half hour tracks), but somehow many of these still have the same kind of "eternal" feel - surely they haven't started to rush through things.

The somewhat calmer approach leaves space for a rich yet subtle mostly acoustic sound spectrum (Hums, Annaline, The Nub). The Hanging Man, leaving meaning, and Sun[%*!#]er sound much closer to Seer-trilogy Swans (with which I'm absolutely fine actually, this trilogy is the highlight of the 2010s for me), but more acoustic, making for a more meditative atmosphere, which creates its own unique and convincing version of the shamanic trance mood evoked by Swans' music.

The first eight tracks of leaving meaning are a straight five stars masterpiece hands down. Unfortunately I have more difficulty connecting with the last four tracks. I respect that after more than one hour of extremely captivating music Gira doesn't call it a day but gives us something even different, at least hinting at more traditional "songs", or rather, in "Some New Things" (of all titles) at a clearer reprise of the more electric sound of the Seer trilogy that is otherwise absent here, but in shorter format. This is OK as an experiment, but to me these tracks come over as quite a bit more shallow than the first eight; some loose tentative messing around contrasting the pure magic that we got before, but then not really far enough from the earlier material to show anything like a proper new direction. This shouldn't of course stop you from buying and appreciating the album, but it makes me eventually go for just 4.3 stars here. Probably I'd have appreciated more to get track 1-8 as another 100% iconic release and the remaining four as a stand-alone EP.

This is the fifth release of Swans in the 2010s, and that's a lot of music; except the first one, which was a bit of a warm up. all of them have two CDs worth of material. It is also the fifth very strong release, cementing their rank as the best band of the decade, with some distance, in my view. Up to The Nub the album is total music, a spellbinding and deeply moving piece of shaman magic. Then there are some additions that I currently suspect of being rather forgettable, but anyway, feel the magic!

 Alignments by AESTHESYS album cover Studio Album, 2020
3.34 | 4 ratings

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Alignments
Aesthesys Post Rock/Math rock

Review by BrufordFreak
Collaborator Honorary Collaborator

3 stars Russian band Aesythesys is back with another collection of their unique form of atmospheric Post Rock--an album that I was very excited to hear due to my love of their 2018 release, Achromata.

Favorite songs: the race-against-time MIKE OLDFIELD-meets-TEARS FOR FEARS-like "Amen D"; the 1980s DEPECHE MODE-meets 90125 YES-like "Better Stranger"; the Berlin School/Kraftwerk-like "Hello World"

Though was really enrapt and intrigued by the novel approach to Post Rock that this band exposed me to on their 2018 album Achromata, I have found this album to be either rushed or showing the signs of burnout. There are a lot of themes here that seem to deal with futuristic, film-inspired themes and ideas, but the ideas here are too often either ill-timed or left undeveloped and incomplete.

I find Alignments to be a huge disappointment as I felt Achromata showed signs of innovation and energy that one rarely finds in instrumental, keyboard dominated Post Rock.

A three to 3.5 star album.

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Post Rock/Math rock bands/artists list

Bands/Artists Country
.O.RANG United Kingdom
[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 FOOL'S ERRAND Netherlands
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
AI Italy
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 INDIA RADIO Australia
ALL WILL BE QUIET Finland
ALL YOU'VE SEEN Switzerland
THE ALLSTAR PROJECT Portugal
ALPHA MALE TEA PARTY United Kingdom
ALRIGHT THE CAPTAIN United Kingdom
AM FOST LA MUNTE SI MI-A PLACUT Romania
AMBIENTE Mexico
THE AMERICAN DOLLAR United States
ANA NEVER Serbia
ANALECTA United States
ANATHEME France
ANCIENTS Multi-National
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
APRICOT RAIL Australia
APRIL RAIN Russia
ARAMID United States
ARBOR LIGHTS United Kingdom
ARCTIC PLATEAU Italy
ARMS OF TRIPOLI United States
ARROWAY France
ART.FICIAL Brazil
ARTIFICIAL WAVES Russia
AS THE POETS AFFIRM Canada
THE ASCENT OF EVEREST United States
ASTRALIA Spain
ASTRO SONIC Norway
ATSUKO CHIBA Canada
ATTILION Indonesia
AUDREY FALL Latvia
AUREA HYBRIDE Mexico
AUSTIN TV Mexico
AUTO!AUTOMATIC!! United States
AUTOMASSAGE Slovenia
AUTUMN MOONLIGHT Argentina
THE AUTUMN PROJECT United States
AXES United Kingdom
BAFFODORO Italy
GABRIEL BAKER United States
BALMORHEA United States
THE BALTIC SEA United States
BANGLADEAFY United States
BARK PSYCHOSIS United Kingdom
THE BASEMENT PAINTINGS Canada
BATTLES United States
BATTLESTATIONS Belgium
BEAR THE MAMMOTH Australia
BEAST PLEASE BE STILL United States
BEATEN BY THEM Multi-National
THE BEAUTY THE WORLD MAKES US HOPE FOR France
BECAUSE OF GHOSTS Australia
BELEGOST United States
BELL ORCHESTRE Canada
BELOW THE SEA Canada
BELYE FLAGI ZAZHIGAYTE MEDLENNO Russia
BESIDES Poland
THE BEST PESSIMIST Ukraine
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
BODY HOUND United Kingdom
THE BODY LOVERS United States
BOHREN & DER CLUB OF GORE Germany
WES BORLAND 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
CADDYWHOMPUS United States
DAN CAINE United Kingdom
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
CAVALLO United States
CAVES OF STEEL Norway
CECILIA::EYES Belgium
CELESTIAL WOLVES Belgium
CHARTS AND MAPS United States
CHEVAL DE FRISE France
CHICAGO ODENSE ENSEMBLE Multi-National
CHILDSPEAK United States
CHON United States
CHOOSE YOUR OWN ADVENTURE United States
IL CIELO DI BAGDAD Italy
CINEMATIQUE Austria
CINEMECHANICA United States
CLEAN OF CORE Japan
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YOU ALREADY KNOW United Kingdom
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