Les morceaux polyrythmiques

Frank Zappa, especially towards the end of his career, experimented with complex polyrhythms, such as 11:17, and even nested polyrhythms. The metal bands Meshuggah, Nothingface, Periphery, Threat Signal, Lamb of God, Textures and Tesseract also use polyrhythms in their music. Contemporary progressive metal bands such as Tool, Animals as Leaders and Dream Theater also incorporate polyrhythms in their music, and polyrhythms have also been increasingly heard in techmetal bands such as Ion Dissonance and The Dillinger Escape Plan, Candiria and Textures. Much minimalist and totalist music makes extensive use of polyrhythms. Henry Cowell and Conlon Nancarrow created music with yet more complex polytempo and using irrational numbers like pi:e.

King Crimson used polyrhythms extensively in their 1981 album Discipline. Above all Bill Bruford used polyrhythmic drumming throughout his career.

The band Queen used polyrhythm in their 1974 song "The March of the Black Queen" with 8/8 and 12/8 time signatures.[1]

Nine Inch Nails front man Trent Reznor uses polyrhythm frequently. One notable appearance is in the song "La Mer" from the album The Fragile. The piano holds a 3/4 riff while the drums and bass back it with a standard 4/4 signature. Talking Heads' Remain in Light used dense polyrhythms throughout the album, most notably on the song "The Great Curve".

Megadeth frequently tends to use polyrhythm in its drumming, notably from songs such as "Sleepwalker" or the ending of "My Last Words", which are both played in 2:3.

Carbon Based Lifeforms have a song named "Polyrytmi", Finnish for polyrhythm, on their album Interloper. This song indeed does use polyrhythms in its melody. [2]

The Britney Spears single Till the World Ends (released March 2011) uses a 4:3 cross-rhythm in its hook