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RIO/AVANT-PROG

A Progressive Rock Sub-genre


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RIO/Avant-Prog definition

Avant-Prog

Avant-prog is an umbrella term which refers to any progressive rock artist with a strong leaning towards avant-garde and highly experimental approaches to music. Therefore, it includes the sub-genres of Rock In Opposition (see below) and Zeuhl in addition to general avant-prog artists.

Avant-prog is generally considered to be more extreme and 'difficult' than other forms of progressive rock, though these terms are naturally subjective and open to interpretation. Common elements that may or may not be displayed by specific avant-prog artists include:

- Regular use of dissonance and atonality.
- Extremely complex and unpredictable song arrangements.
- Free or experimental improvisation.
- Fusion of disparate musical genres.
- Polyrhythms and highly complex time signatures.

Most avant-prog artists are highly unique and eclectic in sound and consequently tend to resist easy comparisons. However, Frank Zappa is often cited as a major influence on many avant-prog artists due to his early adoption of avant-garde and experimental attitudes within a predominantly rock/jazz context.


Rock In Opposition

Rock In Opposition (RIO for short) is the name of a short-lived movement that has gone on to define a sub-genre of progressive rock, and which is now sometimes applied to musicians whose careers hadn't even started by the time the movement had ceased to exist in any official capacity. It is not synonymous with the term avant-prog, for whilst bands associated with RIO are (generally speaking) avant-prog in nature, most avant-prog bands are not associated with RIO.

The roots of RIO can be traced to Henry Cow, a UK progressive rock band with a distinctly avant-garde sound and left wing political ideology. Henry Cow toured extensively in Europe throughout much of the 1970s and came into contact with a few similarly inclined bands, in an ideological sense as much, if not more, than a musical one. These groups did not always have much in common stylistically, apart from a basic leaning towards fusing avant-garde qualities with elements of rock. Most of these bands were working independently at the time and had no distribution or realistic opportunity of touring outside their native countries. The idea of Rock In Opposition was to create an independent network of like-minded performers that would not be dependent on the largesse of major record companies for their survival.

Henry Cow invited four of these bands to play alongside them at the first Rock in Opposition festival on 12th March 1978, at the New London Theatre, Drury Lane in London. The British Arts Council helped the funding of the festival with a ú1000 grant. The Rock in Opposition slogan "The music the record companies don't want you to hear" was altered very slightly for the flyer advertising the first Rock in Opposition concert.

The five initial Rock in Opposition bands were:

Henry Cow (England)
Univers Zero (Belgium)
Etron Fou Leloublan (France)
Samla Mammas Manna (Sweden)
Stormy Six (Italy)

Three additional bands were later officially elected to the movement:

Art Zoyd (France)
Art Bears (England)
Aksak Maboul (Belgium)

The involved bands had many disagreements in a meeting at Sunrise Studios in Kirchberg, Switzerland in December 1978 about the purpose of the group, and its meaning. They eventually came up with a plan to continue their joint concerts. They organised three more festivals and co-operative record distributions but eventually the RIO group dissolved. It left behind a legacy that would initially be picked up by later projects from the many musicians involved with the original movement, and later on by artists inspired by the original RIO groups. Miriodor and Ensemble Nimbus are often said to be influenced by Samla Mammas Manna, for example, and are consequently sometimes referred to as RIO bands.

Since 2007, a contemporary RIO festival has been held most years in Carmaux, France. This festival has included artists closely associated with the original RIO movement alongside bands from the wider world of avant-prog and experimental music.

Dates of the original RIO festivals

12 March 1978 at New London Theatre, Drury Lane, London, England (set up by Henry Cow)
26 April 1979 to 1 May 1979 at Teatro dell'Elfo, Milano, Italia (set up by Stormy Six)
28/29 September 1979 in Uppsala, Sweden (set up by Samla Mammas Manna)
Bruxelles, Belgium (set up by Univers Zero)

Useful links

Information on RIO from Chris Cutler's website

Additional historical information on Squidco

Written/Compiled/Edited by past and present members of the RIO/Avant-Prog team

Current team members:
as at 20/05/2016

Raffaella (Raff)
Luca (octopus-4)
Ian (Nogbad_The_Bad)
Keishiro (DamoXt7942)
Ori (frippism)

RIO/Avant-Prog Top Albums


Showing only studios | Based on members ratings & PA algorithm* | Show Top 100 RIO/Avant-Prog | More Top Prog lists and filters

4.33 | 1454 ratings
HOT RATS
Zappa, Frank
4.32 | 843 ratings
THE MOTHERS OF INVENTION: ONE SIZE FITS ALL
Zappa, Frank
4.31 | 861 ratings
THE GRAND WAZOO
Zappa, Frank
4.33 | 219 ratings
WESTERN CULTURE
Henry Cow
4.34 | 167 ratings
IN EXTREMIS
Thinking Plague
4.53 | 50 ratings
TAIGA
OOIOO
4.47 | 62 ratings
H─XAN
Art Zoyd
4.28 | 271 ratings
SING TO GOD
Cardiacs
4.27 | 302 ratings
UZED
Univers Zero
4.40 | 73 ratings
N║ 6
Present
4.25 | 361 ratings
CHOIRS OF THE EYE
Kayo Dot
4.26 | 265 ratings
HERESIE
Univers Zero
4.25 | 268 ratings
M┼LTID
Samla Mammas Manna
4.36 | 77 ratings
DECEIT
This Heat
4.35 | 75 ratings
BOOK M
Secret Chiefs 3
4.49 | 40 ratings
LETTERS HOME
News From Babel
4.24 | 235 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.30 | 106 ratings
ON LAND AND IN THE SEA
Cardiacs
4.59 | 30 ratings
JACKSON
Korekyojinn
4.27 | 122 ratings
BARBARO (MA NON TROPPO)
Present

RIO/Avant-Prog overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the RIO/Avant-Prog experts team

FARLIG VANDRING
Panzerpappa
KNEBNAG─UJE
Pocket Orchestra
DOOR FLOOR SOMETHING WINDOW: LOOPING HOME ORCHESTRA LIVE 92-93
Hollmer, Lars
KOTEGARDA
Gargantua

Latest RIO/Avant-Prog Music Reviews


 Hoping Against Hope by THINKING PLAGUE album cover Studio Album, 2017
3.79 | 78 ratings

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Hoping Against Hope
Thinking Plague RIO/Avant-Prog

Review by Warthur
Prog Reviewer

2 stars Hoping Against Hope finds Thinking Plague in their third album in a row of failing to make an impression on me. Solid though I consider their work up to In Extremis to be, their albums since then have felt a little too much like regurgitating the same-ol' Thinking Plague sound as developed on those albums rather than appreciably developing it further. For some fans, that might be exactly what you want; the band can hardly be accused of betraying their roots if they never develop away from them, after all. At the same time, the lack of novelty wears on me and I find my attention wandering whenever I try to listen to the album.
 Feather Float by OOIOO album cover Studio Album, 1999
4.02 | 19 ratings

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Feather Float
OOIOO RIO/Avant-Prog

Review by Warthur
Prog Reviewer

4 stars It was on this album that the Boredoms' Yoshimi P-We and her allies had the task of taking what had been a one-off side project put together on a whim and seeing if they could make it sustain itself. "Be Sure To Loop" seems to be a sort of manifesto for the group's overall approach, influenced as it is by the repetitive motorik rhythms of classic krautrock. With a deft skill for coming together dramatically and then soaring off into their own disparate experiments, the instrumentalists take us on a journey which begins in comparatively ordinary dancey-trancey sort of territory only to take us out to the very edge of space.
 Rencontres by MIRIODOR album cover Studio Album, 1986
4.26 | 56 ratings

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Rencontres
Miriodor RIO/Avant-Prog

Review by Warthur
Prog Reviewer

4 stars The self-released debut LP by Miriodor finds the band drawing from diverse prog subgenres. It's only natural that this includes the jazz-rock stylings of the likes of Maneige, since Miriodor also hail from Quebec, and there's also the humour of the likes of Samla Mammas Manna or the Muffins in play, as well as extensive influence from the likes of Egg, Hatfield and the North, and National Health - none of whom could exactly be described as dour.

The end result is a sort of Canterbury-ish RIO-y sort of jazz-rock mayhem, and one delivered with deft skill by the players. Putting out a debut album with this sort of sound in 1986 was a risky prospect, but such is the quality of the material that if you sent it back to 1976 it could have gone toe-to-toe with any of the group's influences.

 Vortex (with David Torn) by SONAR album cover Studio Album, 2018
4.42 | 17 ratings

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Vortex (with David Torn)
Sonar RIO/Avant-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars Now here is something truly interesting: Swiss instrumental Math Rock band, master of heady polyrhythmic constructs, has guitarist extraordinaire David Torn sitting in and lifting their songs geometrically with his sonic magic.

1. "Part 44" (9:56) bass, drums and two guitars establish a fabric over which David Torn adds his guitar meanderings. The frequent shifting of chords between the two arpeggiating guitars makes this quite interesting and engaging. At 2:40 there is a shift into lower octaves that gives Torn's guitar more prominence (which he could take more advantage of). By the end of the fourth minute the baseline weave thins for a while as Torn disappears. The bass gets prominence here until a sudden thunder bolt of static bursts in at 4:55: Torn is ready to tear it up. After a minute of more static, David finally does just that--piercing the treble lines with some shrill notes. Towards the end of the seventh minute, his solo becomes more active--and continues to do so for the next glorious ninety seconds. After that the drums and bass are left to "clean up" beneath Torn's sustained scream. Nice job--as a band! (9/10)

2. "Red Shift" (10:31) opens with strumming guitars and jazzy cymbal play with simple bass. At 0:55 there is a key shift but the fabric remains essentially the same. At 1:36 there is a shift into more oppositional polyrhythmic strumming and then picking from the two guitars. (Still no Torn.) A quiet passage at the end of the third minute hails the arrival of Mr. Torn. An extended solo passage of David Torn's most unbridled soloing starts around 3:10, escalates, and lasts into the second half of the sixth minute. The song then plays out in a quieter, less dynamic version of the first two minutes.(9/10)

3. "Waves And Particles" (7:49) a slow, subtly developing whole-band weave of the KING CRIMSON "Discipline" style- -until David lets loose in the second half. Man, this guy can make a guitar sing and scream and wail like NOBODY else! (9.5/10)

4. "Monolith" (10:47) radio-like sound frequencies are interspersed with two (and later three--Torn's) guitars each doing their own thing in contribution to the polyphonic weave. Again, the most interesting part of this otherwise- dull song is Torn's soloing in the middle (sixth through eighth minutes). (8/10)

5. "Vortex" (9:37) drums and deep bass notes play a little more prominently into the polyrhythmic weave from the start of this one. In the second minute one of the guitars (R) tries to spice it up a bit with a faster arpeggio and then some heavy reverb and long sustain. At 2:35 the left guitar takes a turn in the lead with some strumming. Then ride cymbal is played while David Torn's single sustained note enters and takes the fore. The ensuing solo, over the band's excellent low-based weave, is awesome. Then, just as suddenly, at 3:50, Torn crescendoes and fades while everyone else quiets down. Halfway through the fifth minute, David makes a return appearance before the drums and right guitar resume their place in the most interesting spots in the soundscape. Odd guitar sounds (except to those fans of Adrian Belew) sneak in from time to time as the band fades down and out of the mix, only to return in a cool way at 7:20. Torn begins to shred and tear at the skies again soon after. Guitars return in support in the final minute as band mounts a final cresendo beneath Torn's rents. Second best song on the album. (9.5/10)

6. "Lookface!" (7:13) what causes this song to stand out is its full-out start: everybody bursting into their power moves, all at the same time, from the song's opening note. Then, in a reversal of expected patterns, the song becomes quiet and delicate in the second half. Brilliant and very engaging! The best song on the album! (9.5/10)

Five stars; a masterpiece of King Crimson Discipline-inspired instrumental progressive rock music.

 God Says I Can't Dance by TIPOGRAPHICA album cover Studio Album, 1996
4.02 | 26 ratings

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God Says I Can't Dance
Tipographica RIO/Avant-Prog

Review by Quinino
Special Collaborator Errors & Omissions Team

4 stars What a pleasant and rewarding surprise - and quite improbable since I often feel difficulty in enjoying Japanese acts (I wont mention names here) that generally tend to lean more on the experimental/extreme side of prog.

But this album caught me right from the first (challenging) track and didn't loose my interest until the last notes, after almost one hour of great, great pleasure.

So, what do we have here - a Zappa oriental clone ? That would be insulting and undeserved to composer/guitarist Tsuneo Imahori because he easily surpasses that assumed influence creating an original and all around very coherent "oeuvre d'art". The album is also very well crafted, the artistic competence of all the musicians is above average and the recording/technical details are flawless.

Easily 4 stars - I'll probably come back and reconsider the fifth, for now will leave my enthusiasm rest a little - and also try to get to listen to the other albums (this one being the sole available in bandcamp, where I bought it from Mellow Rec.)

 Palace Of Mirrors by ESTRADASPHERE album cover Studio Album, 2006
4.17 | 94 ratings

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Palace Of Mirrors
Estradasphere RIO/Avant-Prog

Review by raigor

5 stars ESTRADASPHERE was an experimental-rock band formed in Santa Cruz, CA in 1998. The band, which in its last incarnation was based in Seattle, WA consisted of six multi-instrumentalists from a variety of musical backgrounds trained in disciplines ranging from Classical music and Jazz to Progressive Rock and Heavy Metal. The band is on 'a permanent hiatus' since 2010.

"Palace of Mirrors", which was released in 2006 through The End Records, is the fifth and final full-length album by the band. Beyond six core band-members, the brass section, two string quartets, the mail choir, and other thirteen auxiliary musicians were involved in its creation. The album presents 13 all instrumental compositions clocking in at over 50 minutes, and ranging from strictly organized, orchestrated pieces to weird and obscured experimental soundscapes. In fact, listening 'Palace of Mirrors' is like studying sophisticated ornaments, whose separate elements and details stylistically correlate Contemporary Classical music, Latin, Balkan, Greek and Gypsy music, Surf and Funk, Chanson Pop and RIO, Prog-Rock and Jazz-Fusion, Avant-Metal, Dark Ambient, Post-Rock, Cinematic Rock, etc. (yes, the musicians had all good reasons to proclaim themselves inventors of bizarre styles such as Spaghetti Eastern, Romanian Gypsy-Metal, or Bulgarian Surf). Everything over here is conceived and performed with incredible imagination, taste, aesthetic, artistry, and humor making "Palace of Mirrors" one of the most listenable and enjoyable Estradasphere's album.

Overall, this is nothing short of a masterpiece, a must have for those who are interested in truly creative, deviant, and inventive Rock music!

 Voyageur Extra-Lucide  by BREANT, FRANăOIS album cover Studio Album, 1979
3.00 | 8 ratings

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Voyageur Extra-Lucide
Franšois Breant RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

3 stars Francois Breant's second studio album is right on the heels of his debut as he had some time to do his own thing in the late seventies. I was surprised that I much prefer the debut just based on descriptions I've read although Hugues hits the nail on the head with his review of this album, also feeling that while we get some of the same vibe as the debut something is missing, this just isn't as enjoyable. Lots of high pitched synths that I'm not into in and less guitar, no sax this time around either. I was happy to see Klaus Blasquiz and Stella Vander singing on one track but it's my least favourite by far. Lisa Deluxe adds vocals and she's sung on some great albums like RAHMANN's debut, ATOLL's "Tertio", MAGMA's "Udu Wudu" and "Attahk" and many more. So yes this looked promising and I was also glad to read Hugues words stating that this was meant to be a soundtrack for a non-movie as this is what it sounds like to me.

"Poursuite Sur Le Peripherique Nord" features sweeping synths that bring disco to mind unfortunately. Love the bass though as drums beat away. The pulsating keyboards after 1 1/2 minutes sounds better to my ears then a calm with piano and a beat takes over. Lots of keyboard sounds before 3 minutes then those sweeping synths are back. Yikes! "8 Aout, Oh.15, 125-eme Rue" has a relaxed start, very mellow with bass and synths standing out. It does turn louder with synths before a calm with picked guitar, keys, bass and drums takes over. A relaxed tune over all though. I like it. More of that intricate guitar 3 minutes in then synths lead the way after 4 minutes as it stays mellow with bass and a beat.

"L'amour Au Grand Air" opens with piano melodies as those sweeping synths are back from earlier then this strong classical vibe takes over. Not into either. This is like music from a TV show or movie. The violin before 3 minutes is laid back with piano and more. A calm follows them more violin at 5 1/2 minutes which sounds so sad. "Cadence D'eperonnage" is my favourite. I like the multi-vocals to start sounding like mellotron choirs almost. Piano helps out then it turns fuller when the vocals step aside.

"Danse Rituele Talmouse" has bright synths and a bright overall sound with percussion. No Albert Marcouer this time around though. High pitched pulsating synths take over as a beat helps out. More synths as well. I'm not into this, too plastic sounding at times. Those pulsating synths are back after 2 minutes as themes are repeated. "L'eveil De L'acrobate" opens with what I believe is synths and keys as drums, bass and violin join in. There's those sweeping synths again 2 minutes in, at least we have some excellent bass here.

"L'obos Rouille Trouve Dans La Dune" has a beat with keys as it builds. Synths come in over top as the bass arrives as well. Some aggressive guitar but it's very brief. It turns much fuller but that will come and go as synths, keys, bass and a beat continue until the violin makes some noise after 2 1/2 minutes. "Les Funeralles Du Voyeur" is my second favourite song on here. Love the atmosphere that floats along as other sounds start to come and go. Suddenly before 2 1/2 minutes we get sequencers. What!? Electronics as the atmosphere disappears and the violin comes in over top of the sequencers. Cool!

"We Ate The Zoo" ends it with just over two minutes of Blasquiz and Stella Vander doing their best opera impressions. This comes across as a musical which I despise. Shoot me now!

So this album certainly has it's moments but far too few to offer up 4 stars. I'll stick with the debut which I spun this morning and it confirmed to me how much better I like it than the sophomore release. I'm glad Didier Lockwood came back playing violin at least.

 Vortex (with David Torn) by SONAR album cover Studio Album, 2018
4.42 | 17 ratings

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Vortex (with David Torn)
Sonar RIO/Avant-Prog

Review by mitarai_panda

4 stars Sonar is a pioneering band from Switzerland, founded in 2012. Their name represents a certain architectural genre that solidifies the music, which means that they intend to create diversified and highly structured avant-garde rock. In terms of style, they are minimalist. They have two three-stringed guitars to do this. It is similar to KC, and often plays highly repeated multi-level music, reminiscent of a tape delay recording system like Robert Fripp. This year's Vortex (with David Torn) is their fourth album. Please come to a jazz expert David Torn to help them. David Torn was selected as the best experimental guitarist, but he is good at electronic music and similar. The electronic programming of the device, which helped the band achieve many sound effects and level changes. In terms of new specialization, this kind of minimalism similar to the late KC brought an embarrassing psychedelic state, but because it is not too heavy, I think it can be called a psychedelic and jazz KC, full of mysteries and Hypnosis. It's like a musical sculpture, full of compact composition and addictive. Of course this can also be called Math Rock. All songs are full of rhythm, but using wacky rhythms, based on repetition and dynamic variables, the time accuracy is accurate, so it can be called mathematical rock as if it were constructed. A seemingly irregular but full of regular blockhouses, a seemingly asymmetrical and actually exact copy of the piece, a visual aesthetic works with a simple but deep complex and complex structure, 3/4, 4/4, and 5/4 shots Build and parallel in turn. In order to create such an ultra-rational effect, David Torn's assistance is crucial. An electronic crimson king hides madness and irrationality in strict discipline. The first half of the album still maintains a brighter hue. It is not enough to get dark and mad at the back. The bass rhythm in the tail song Lookface! is crazy, but it has to be admired. A surprising rock math masterpiece , a model of music architecture. Conservative to a four-star, but may be able to reach four and a half stars! Strongly recommended.
 The Hidden Man of the Heart by ROZ VITALIS album cover Studio Album, 2018
4.16 | 26 ratings

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The Hidden Man of the Heart
Roz Vitalis RIO/Avant-Prog

Review by mitarai_panda

5 stars Roz Vitalis was a Russian composer and keyboardist who set up a project in 2001, a poetry band. But later became a trio, the lineup expanded, not only the keyboard but also flute, harmonica, violin and clarinet and other instruments. Although it was the pre-pioneer shake and anti-rock, it was also considered to be psychedelic and space rock. It was influenced by LE ORME, GENTLE GIANT, KING CRIMSON, YES, ELP and other bands, but I feel like a moderately similar giant and overall. The king, led by the keyboard, is more like chamber music. Since the release of the album in 2002, the tenth "The Hidden Man of the Heart" has been released this year. The opening was a wonderfully fiddling violin performance. Then he joined the king's heavy dark atmosphere, with the guitar keyboard concerto of some folk music. At the same time, the wind instrument also joined impromptu performance. The opening music structure is rich. However, apparently after a wonderful and smooth start, Roz Vitalis started their pioneering path. Many unexpected arrangements and seemingly random wacky performances came to the fore. However, the turbulent improvisation was a bit of a sense of humour with wind instruments, followed by the elegant performance of flute and violin. Since I loved to think that the band had to lose sight of the beauty when it came to experimentation, it was an eye-catching moment. At this time, their music was still beautiful, and it could be considered as a gentle version of KC. Then the two qualified piano pieces were presented, followed by a flute with a slightly mournful flute. The wind instrument solo I remembered suddenly reminded me to think of after crying. It was extremely explosive but extremely elegant. It can be said that Roz Vitalis has provided enough space for these instruments. Whether it is a keyboard guitar, or a flute, violin, or a variety of characters, they all have their own solo moments. They all play well and create a psychedelic atmosphere. Elegant atmosphere, but at the same time maintain tense and mysterious. This is really one of the best albums released this year! Especially the outstanding performance of the violin and trumpet, so that the album while maintaining avant-garde, but also resistant and meticulous, a solid four and a half! It is worth noting that there are two long songs I think are the best in the vinyl version. Can not help but want to listen to many of their past works, and this should also often listen to it again. It is highly recommended that you can listen to RIOs with less interest because they are more like symphony, psychedelic and classical music.
 The Hidden Man of the Heart by ROZ VITALIS album cover Studio Album, 2018
4.16 | 26 ratings

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The Hidden Man of the Heart
Roz Vitalis RIO/Avant-Prog

Review by nikitasv777

4 stars The Hidden Man Of The Heart - this is really good instrumental music. This is new conceptually the album is about spiritual-creative constituent of a person in strange dynamics. Lovers of experimental prog (not exclusively RIO) may feel captivated by this album. Instrumentation includes the keyboards, piano, trumpets, guitars, bass, flutes, bass clarinet, drums, mandolin and string Quartet. I love the classical strings, which are featured very prominently in all of The Hidden Man Of The Heart's music. Overall, the album is easy to listen to. This is an excellent release and its biggest quality is the originality. But... I think their album Lavoro d'Amore (2015) is far superior. So, this album has it's moments but this is barely 4 stars.
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RIO/Avant-Prog bands/artists list

Bands/Artists Country
1870 (MIL OCHOCIENTOS SETENTA) Mexico
3 MICE Multi-National
5UU'S United States
THE A BAND United Kingdom
A-MUSIK Japan
A.P.A.T.T. United Kingdom
ABSOLUTE ZERO United States
AFENGINN Denmark
AFTER DINNER Japan
AFUCHE United States
AHLEUCHATISTAS United States
AHVAK Israel
AKINETËN RETARD Chile
AKSAK MABOUL Belgium
ALAMAAILMAN VASARAT Finland
ALBOTH! Switzerland
ALEX'S HAND United States
ALFIE RYNER France
ALTERED STATES Japan
AMOEBIC EMSEMBLE United States
ANATROFOBIA Italy
ANDREW MOORE'S CHAMBER WORKS United States
APPENDIX Slovakia
ARANIS Belgium
ARBETE OCH FRITID Sweden
THE ARCHESTRA Belarus
ARKTIS/AIR Austria
ARMON KUILU Finland
ART BEARS United Kingdom
ART FLEURY Italy
ART MOULU France
ART ZOYD France
THE ARTAUD BEATS United Kingdom
ARTERIA Mexico
ATHANOR France
ATOMIC APE United States
AUKTYON Russia
BABLICON United States
BANDA EL┴STICA Mexico
ARRIGO BARNAB╔ Brazil
BARNACLED United States
BARRICADE France
LES BATTERIES France
BBP UNDERGROUND ORCHESTRA Czech Republic
BEGNAGRAD Yugoslavia
BOB BELL Canada
BEN LEVIN GROUP United States
BIG BLOCK 454 United Kingdom
BIG FARM United States
BIRDSONGS OF THE MESOZOIC United States
BISE DE BUSE France
IVA BITTOV┴ Czech Republic
BLACK ENGINE Italy
MICHEL BLANC France
BLAST Netherlands
BLITURI Canada
THE BLITZOIDS United States
THE BLUE SHIP United Kingdom
BONE Multi-National
THE BOOK OF KNOTS United States
BOREDOMS Japan
BOSNNIA Argentina
BOX Multi-National
FRANăOIS BREANT France
MARKO BRECELJ Yugoslavia
BREZNEV FUN CLUB Italy
BRIAN! United States
BROKEN.HEART.COLLECTOR Austria
HASSE BRUNIUSSON Sweden
BUILD United States
BULDOZER Yugoslavia
BZ BZ UEU Italy
CALOMITO Italy
THE CAMBERWELL NOW United Kingdom
CAPILLARY ACTION United States
CAPTAIN BEEFHEART United States
CARDBOARD AMANDA Multi-National
CARDIACS United Kingdom
CARTEL CARNAGE France
CARTOON United States
CASSIBER Germany
CATERPILLARMEN Iceland
CAZUELA DE CďNDOR Chile
THE CELLAR AND POINT United States
CERBERUS SHOAL United States
CHARMING HOSTESS United States
CHEER-ACCIDENT United States
CH╩NE NOIR France
GUIGOU CHENEVIER France
CHOU PAHROT United Kingdom
CHROMB! France
CICALA-MVTA Japan
THE CLAUDIA QUINTET United States
A CLEAN KITCHEN IS A HAPPY KITCHEN Belgium
CLOUD BECOMES YOUR HAND United States
COBRA United States
JEAN COHEN-SOLAL France
COMBAT ASTRONOMY Multi-National
COMBO FH Czech Republic
COMMUNIO MUSICA Denmark
LINDSAY COOPER United Kingdom
COSA BRAVA United States
CREEDLE United States
CRO MAGNON Belgium
CTHULHU RISE Ukraine
CUCAMONGA Argentina
CULTO SIN NOMBRE Mexico
CURLEW United States
CUTLER AND FRITH United Kingdom
CHRIS CUTLER United Kingdom
RUBEN D'HERS Venezuela
DAIMON ORCHESTRA Japan
PATRICIA DALLIO France
DANISCO (FOR BEAUTY) France
DATE COURSE PENTAGON ROYAL GARDEN Japan
DEADBURGER Italy
DEBILE MENTHOL Switzerland
DECIBEL Mexico
DEEP SWEDEN Czech Republic
DEMI SEMI QUAVER Japan
DANIEL DENIS Belgium
DEUS NUVEM Brazil
DIE ANARCHISTISCHE ABENDUNTERHALTUNG Belgium
DISCUS Indonesia
DOCTOR NERVE United States
BOB DRAKE United States
TOBY DRIVER United States
THE DRX United States
PASCAL DUFFARD France
DUMB WAITER United States
DUNAJ Czech Republic
TREVOR DUNN United States
DURE-M╚RE France
DUREFORSOG Denmark
THE DUSTMAN DILEMMA France
EARDANCE United States
EBU GOGO United States
ELECTRIC MASADA United States
RICH WOODSON'S ELLIPSIS United States
ENCORE + GRANDE Multi-National
ENSEMBLE HAVADI└ Italy
ENSEMBLE NIMBUS Sweden
L' ENSEMBLE RAY╔ Switzerland
ENSEMBLE SUPERMUSIQUE Canada
EPN TRIO Argentina
EREHIA Mexico
ERTH Costa Rica
ESKALATION Germany
ESKIMO United States
ESTRADASPHERE United States
ETRON FOU LELOUBLAN France
EX-GIRL Japan
EX-P Italy
EXTRA LIFE United States
FACEMEAT Australia
FACTOR BURZACO Argentina
PAVEL FAJT Czech Republic
BERNARD FALAISE Canada
FAMILHA ART┌S France
FANTďMAS United States
FAR CORNER United States
FAT Canada
FERDINAND RICHARD France
UN FEST═N SAGITAL Chile
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