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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 £1000 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 26/10/2019

Luca (octopus-4)
Ian (Nogbad_The_Bad)
Keishiro (DamoXt7942)

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

4.35 | 1713 ratings
HOT RATS
Zappa, Frank
4.49 | 98 ratings
HÄXAN
Art Zoyd
4.32 | 1035 ratings
THE GRAND WAZOO
Zappa, Frank
4.38 | 145 ratings
ON LAND AND IN THE SEA
Cardiacs
4.29 | 1034 ratings
THE MOTHERS OF INVENTION: ONE SIZE FITS ALL
Zappa, Frank
4.30 | 341 ratings
SING TO GOD
Cardiacs
4.29 | 283 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.27 | 366 ratings
UZED
Univers Zero
4.28 | 285 ratings
WESTERN CULTURE
Henry Cow
4.44 | 62 ratings
LETTERS HOME
News From Babel
4.35 | 103 ratings
BOOK M
Secret Chiefs 3
4.42 | 65 ratings
SIRENS AND SILENCES / WORK RESUMED ON THE TOWER
News From Babel
4.35 | 95 ratings
Nº 6
Present
4.30 | 158 ratings
HUONO PARTURI
Höyry-Kone
4.26 | 319 ratings
HERESIE
Univers Zero
4.32 | 116 ratings
DUCK STAB / BUSTER & GLEN
Residents, The
4.72 | 25 ratings
PLAYS STANDARDS
Ground Zero
4.28 | 190 ratings
IN EXTREMIS
Thinking Plague
4.32 | 109 ratings
DECEIT
This Heat
4.24 | 311 ratings
MÅLTID
Samla Mammas Manna

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

SHINUTOKIWA BETSU
Wha-Ha-Ha
THE LITANIES OF SATAN
Galás, Diamanda
TIGROVA MAST
Tigrova Mast
THE VIOLENCE OF AMATEURS
French TV

Latest RIO/Avant-Prog Music Reviews


 Ipsissimus (with The Moonchild Trio) by ZORN, JOHN album cover Studio Album, 2010
4.36 | 12 ratings

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Ipsissimus (with The Moonchild Trio)
John Zorn RIO/Avant-Prog

Review by TCat
Forum & Site Admin Group Eclectic / Prog Metal / Heavy Prog Team

5 stars This is the fifth album which features The Moonchild Trio, which consists of Michael Patton, Trevor Dunn and Joey Baron performing John Zorn compositions, headed over by Zorn himself. Typically, Zorn doesn't play in any of the other albums by The Moonchild Trio, but this time around he brings his crazy saxophone along for the party along with guitarist Marc Ribot.

If you are already familiar with The Moonchild Trio, you already know what to expect here: Patton's crazy wordless vocalizations which would murder a normal singer to perform, Dunn's amazing bass work and Baron's progressive and unpredictable drumming. The music is anything but predictable or normal, can be rather chaotic and sounds like nothing you've ever heard, but this time around, with Ribot joining in, things get more angular, heavy and dark than ever before.

The first track "Seven Sigils" kicks off with simply the rhythm section, bass and drums churning out an ever changing riff, and you might be fooled into thinking you are listening to some great heavy progressive music, but then Patton comes in and everything just goes nuts. At one point, Patton's vocals soar up to unnatural heights, but when it comes down from the stratosphere, it's no longer Patton singing, but Zorn's strangled saxophone somehow got substituted without anyone noticing. That's how crazy it is. The insanity continues with Patton's tongue wagging sounds, Zorn's tortured sax and pounding bass and drums that will make anyone sit up and take notice. It's not always chaotic as things do get grounded from time to time, but soon goes off into left field again before you know it.

Ribot's guitar doesn't show up until the next track "The Book of Los". It brings the track in with a nice softer sound and Zorn brings in the piano to help out. Soon Patton starts to vocalize, but is using a lot of restraint this time at first. The rest of the band soon joins in and the main feeling is quite pensive and reflective, that is until about halfway in to the track when the guitar starts to go AWOL from this and Ribot demonstrates that he fits right into this crazy improvisation. At this point, Patton (not to be outdone) suddenly scares the listener to death with a crazy scream and then there is no return from the insanity after this.

It's this kind of thing you can expect from this album, a lot of crazy improvisational sections and also a lot of level- headed sections where things might resemble normalcy for certain brief sections. There are three tracks called "Apparitions" which are avant-garde improvisational tracks spread throughout the album and these are typically shorter tracks lasting about 4 minutes each of discord and such. You will notice, though, that this album a bit heavier than even most of The Moonchild Trio's albums, more in a metal vein than ever before. You'll notice this in "Supplicant" which might even fool you into thinking you are listening to extreme experimental metal. This one is probably the most accessible of the tracks, one that will win over the metal afficianados, with the heavy guitar and bass riffs and Patton's unusual growling/screaming/squealing. But then, you also hear the amazing songwriting skills of Zorn stand out on tracks like "Warlock" and "Tabula Smaragdina", the latter features a great bass and drum duet to open it up.

Is it possible that all of this chaos and noise can be considered a masterpiece? Yes it can. If you don't know how, then you have never heard Zorn and The Moonchild Trio, but this is probably my favorite album from them. There is so much going on here, and it's actually not hard to pick it out even if you don't like metal or avant prog. This album is quite amazing and can only be best explained by listening to it. I will say it may not be to everyone's taste mostly because of Patton's crazy singing, but you have to marvel at his talent if nothing else. I doubt if there are many people that can sing like this and survive with their voice intact. This is a masterpiece if there ever was one.

 Cactides by TITAN TO TACHYONS album cover Studio Album, 2020
4.00 | 4 ratings

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Cactides
Titan To Tachyons RIO/Avant-Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars The New York City-based avant/instrumental metal trio Titans To Tachyons comprise guitarist Sally Gates (ex-Orbweaver, ex-Gigan), Kenny Grohowski (Secret Chiefs 3, Imperial Triumphant, Brand X) and Matt Hollenberg (Cleric, John Zorn). Heavily influenced by science fiction for their song titles, anyone who references Red Dwarf (the last track is "Everybody's Dead, Dave," which also features guest bassist Trevor Dunn (Mr. Bungle, Fantômas)) is alright by me. Add to that their massively complex, distorted, angular slabs of music which are highly experimental while also hitting into RIO, and this is something which is right up my dark alley.

This is not music to be sat and listened to sedately, it is visceral and designed to elicit a response, with some areas being incredibly metallic, while at others they add in some light to better reflect the shade. This is disconcerting stuff, music to set your teeth on edge while bashing in your brain. There are sections where they are almost hypnotically melodic, and others where it is so off the wall as to be in another building altogether. They can be clean, or messed up, gentle or harsh, providing sweet chords or dissonance, so that the listener has no idea where they are going, or even if they want to stay the course until the end. But as with all great experimental music, there are consistent surprises, such as the use of a bow on "The Starthinker Is Obsolete", or the way they can move so far away from themes that one cannot believe they will ever find their way back, yet they do.

The three musicians may sometimes seem to be living very much in their own world, yet they are incredibly tight and the way they can spin the music in a 180 is very special indeed. This will not be to everyone's taste, much like Dave Lister, but if you can get your head around this, then it will indeed be like finding an edible pot noodle.

 Wazoo by ZAPPA, FRANK album cover Live, 2007
4.05 | 80 ratings

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Wazoo
Frank Zappa RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

3 stars 3.5 stars. I wished I liked this more and my rating reflects my enjoyment level more than anything else. Zappa and his big band of what 20 musicians or so. Tons of horns which I'm not into. He did an eight night tour with this being the final one on September 24th 1972. And in Boston. There is a lot of noodling and you could call this Avant Jazz for the most part. A lot of difficult music which while impressive it just doesn't do much for me at all. Frank is in great form talking to the audience and sharing stuff. I've spent a lot of time with this one hoping it would grow on me but again this is a tough listen and I admit Avant Jazz is very much more miss than hit in my world. We get an hour and a half of music over two discs and this is not for the faint of heart.
 5 by SCHNELLERTOLLERMEIER album cover Studio Album, 2020
4.04 | 4 ratings

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5
Schnellertollermeier RIO/Avant-Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars As one may be able to guess from the title, Schnellertollermeier are back with their fifth album, following the musical path for which they have become known. Andi Schnellmann (electric bass, electric guitar on "Animate Become"), Manuel Troller (electric guitars) and David Meier (drums & percussion) are experimental musicians, who on this album are also using space as a deliberate instrument. There are times when it seems the musicians are recreating the sound of industrial machinery, taking themselves far away from what many people believe to be melodic music, instead taking the listener into places which allows them to think about what is happening in their ears, and asks them to go on a journey.

Each member of the band is tasked with driving the music at different times, always in harmony (or sometimes deliberate disharmony) with the others. Numbers such as "A.o.E.i.n.E.o.A" are immensely powerful, yet at the same time there is little in terms of note density as the guys allow our emotions and some metallic sounds to move us in different directions. This is not easy listening play in the background type of music, but rather it is something which needs to be played on headphones with close attention to everything that is going on. This is far more about the interaction of notes and what they are doing as they resonate as opposed to any individual musician showing off and expecting the listener to be impressed with the skill on show. At times they are highly percussive, at others it is far more languorous, but always there is that space being used as an additional instrument ? this is so removed from compression as to be on a different musical planet altogether. There is room here for everything to breathe, even if that breathing sounds like it is taking place on a production line in a sterile factory somewhere. Highly experimental, definitely interesting.

 44 1/2 Live + Unreleased Works Box Set by ART ZOYD album cover Boxset/Compilation, 2017
4.93 | 10 ratings

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44 1/2 Live + Unreleased Works Box Set
Art Zoyd RIO/Avant-Prog

Review by Lewian
Prog Reviewer

5 stars There is no way to do this absolute monster of a box set justice in a review. Maybe I start by writing that Art Zoyd have developed over time from a RIO band that used mainly acoustic elements including strings and woodwinds into a more electronically oriented experimental avantgarde collective, from a strong orientation toward chamber-like composition in the beginning to more focus on subtle atmospheres and sound design, evolving their signature sound inspired by horror movies and the depths of the psyche while still remaining unmistakably Art Zoyd when it comes to the mysterious dark mood and experimental spirit. A number of members came and went through the years, many with remaining long term association with the band, and later the group became more of a collective with changing line-ups often in parallel doing different projects. Spiritus Rector Gerard Hourbette sadly passed away far too young at 64 in 2018, but it looks like many of the tentacles of Art Zoyd will go on. All this is represented here, so if you want to start your Art Zoyd fandom with a bang, buy this (obviously if you're not rich chances are you're not going to plunge into such a set first even though I may tell you that you won't regret it... maybe some will actually, because AZ are surely not for everyone).

This is 12 CDs, two DVDs, and maybe still additional gimmicks if you order now (I love my Art Zoyd T-Shirt that I got with this) and as far as I know all previously unreleased. There are live versions of quite a bit of Art Zoyd's back catalogue, all of which have quite a bit of additions and variation. Most sound very good although there's the odd outlier in sound quality, but anyway, the fan will have the originals and can still enjoy spotting the differences. In any case having these versions is worthwhile if you want to hear how they changed and developed their material live. I'm even more excited about the several CDs (hard to count as some of this material is scattered all over the place) of yet unreleased high quality music, much for ballet etc., that would have made a valuable complete career in RIO on its own but wasn't deemed apparently to be up to publication standard by the Art Zoyd collective up to 2017 (of course the sad reason may be that despite being an absolutely authoritative and super productive band, there was never enough money in the hand of buyers who could appreciate such off mainstream experimentation enough to buy even more than the several dozens of albums that they had put out anyway). There is the odd foray into unusual territory like more poppy electronic, charming enough to be entertaining and not distracting from the greater scheme of things which here means properly GREAT.

If I start to review any detail of this, my week will be lost and there are unfortunately a few other things that I have to do. Remember, this is two full discographies of fine bands worth of material, despite the fact that AZ have released loads of other stuff that isn't represented here. Pity that probably only the craziest people like me will buy such a set. Not sure whether the world would be a better place otherwise, there are some disturbing psychological and even parapsychological tendencies portrayed in the most scary way in some of AZs music, so maybe I should be happy that far more people love Lennon's Imagine than having ever heard any note by Art Zoyd, but if you're interested in the worrying stuff that goes on underneath, look and listen here!

 Duck Stab / Buster & Glen by RESIDENTS, THE album cover Studio Album, 1978
4.32 | 116 ratings

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Duck Stab / Buster & Glen
The Residents RIO/Avant-Prog

Review by Gorgut Muncher

5 stars HERE I COME GOD DAMN CONSTANTINOPLE!!!

Not an album for the faint hearted. So that you understand how inaccessible this band is in general, this is actually one of their most accessible records. The album features polyphony, twisted vocals, acid instrumentation and a very enjoyable silliness present in every track. Some songs are chill, jazzy and mellow, some others are bombastic, insane and over-the-top, and there's no other band capable of merging those two things as well as The Residents.

If you like bands like Primus (a band that would not exist if it wasn't because of The Residents) or Frank Zappa, go check this out. You're probably already used to weird, experimental music. If you're not used to avant-garde, good luck! You'll either love it or hate it!

 Duck Stab / Buster & Glen by RESIDENTS, THE album cover Studio Album, 1978
4.32 | 116 ratings

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Duck Stab / Buster & Glen
The Residents RIO/Avant-Prog

Review by Ian McGregor

5 stars This is one of the weirdest albums you will ever hear in your life. The first track by itself should tell you that.

It's not a normal avant-garde album, it's even more structureless and random. Surprisingly, it's one of The Residents most accessible records, and a great place to start if you want to get into their discography. This album frequently makes use of samples, atonality and cacophony, combined with vocals that have passed through multiple voice effects. An incredibly unique record, it manages to keep you entertained through its thirty five minutes.

I recommend it mostly to avant-garde fans, and it's essential to any The Residents fan.

 Furvent by GRAND SBAM, LE album cover Studio Album, 2020
4.13 | 22 ratings

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Furvent
Le Grand Sbam RIO/Avant-Prog

Review by kev rowland
Special Collaborator Honorary Reviewer

4 stars Lyon collective Le Grand Sbam are back with their second album, which in many ways follows on exactly where 'Vaisseau Monde' left off. There have been a few changes in the band, as Mélissa Acchiardi (vibraphone, percussion) is no longer involved, but Antoine Arnera (piano, electronics, voice), Boris Cassone (bass, Mellotron), Jessica Martin Maresco (voice), Guilhem Meier (drums, amplified percussion, voice) and Marie Nachury (voice) have expanded the band with the addition of Grégoire Ternois (marimba, toms, dun dun bells, gong), Mihaï Trestian (cimbalom) and Anne Quillier (Moog, Rhodes, voice). The addition of more voices, percussion, and keyboards, has allowed them to take their music further in the direction of crazed opera/RIO/Zeuhl/experimental prog.

It is massively complex, yet also hugely chaotic, and one can imagine Zappa comparing the scoring of this to that of "The Black Page #1", smiling, and saying "yep, they got it". Musically this is all over the place, structured yet free, and while it should never make sense it somehow does, and one can never fail but be enthralled by the performance. Just for the hell of it, this album commences with "La Trace" which is nearly 19 minutes in length, but in reality, all you need to do is listen to the first few seconds to understand what you may be letting yourself in for as a listener. Strange vocals, percussion, interweaving melodies, they are all there. About sixteen minutes into the piece there is a wonderfully high held vocal note, so pure and clean, which really makes it stand out. We get warmth and delicacy, strength and dominance, power, and submission, all in the same piece. The piano can be intricate and rippling, or it be crying in pain as it is being taken into new areas, with classically trained female and male vocals being both sublime and fractured, frantic and almost in pain. This is modern music which is being taken into new and exciting directions, and we are all the better for it.

 Intermission by RESIDENTS, THE album cover Singles/EPs/Fan Club/Promo, 1982
3.27 | 12 ratings

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Intermission
The Residents RIO/Avant-Prog

Review by TCat
Forum & Site Admin Group Eclectic / Prog Metal / Heavy Prog Team

4 stars Why would The Residents release albums of incidental music from their defunct and failed stage shows? Because it's The Residents and some people just have to have everything they produce. This is an EP of 5 songs that were previously unavailable on any of The Mole albums, but (as the label says) it is not Music from The Mole Part III, its all music that was produced only for use in The Residents' live Mole shows. Originally, it was not intended for release, but since The Residents couldn't capitalize on the goofy story, they just couldn't help themselves. And it is good for us that they couldn't. The 5 songs on this short EP are better than most of the tracks that were released for consumer consumption and regurgitation.

This album was made before Snakefinger's passing away and before the period of time when the band got caught up in the vortex called The 80's, which is probably when they released their most unfunny and uninspired music and resorted to your grandmother's cheap Wurlitzer organ to make music.

Lights Out - Snakefinger makes his presence quite known on this track with his unique guitar stylings laid out upon a base of percussion and hand clap loops along with some very eerie synth effects and music. Strangely enough, this sounds better than a lot of the music on any of "The Mole" albums and was only used as an introduction to their live show.

Shorty's Lament - A lot of percussion loops and a spooky synth play the melody of this track, and the melody gets more apparent when some guest singers sing choral style along with the synth. The percussion is a bit hollow sounding (due to effects) and maybe too repetitive, but the vocals make up for it all. Spoken word from The Resident's own lead vocalist and his drawl fill in more space on this one when the synth isn't there making some atmospheric freakout music.

The Moles Are Coming - This tense piece sounds like it could have come from a suspense thriller, but then so could 70% of The Resident's music. It is quite an intriguing, yet short track, and probably one of the best of any of their incidental pieces. This is the reason why you just have to have The Resident's music, because you never know when they hit upon a masterpiece even if it is by accident.

Would We Be Alive? - This one sounds the most like it was produced on an organ in your friendly neighborhood second hand store. But this was also before they wore that sound out, so you got to give them credit for trying it out here, but after that, they should have left the organ in the fire they set when they burned down that 2nd hand store.

The New Hymn - More really band music, but done in a good way. Bad rhythm track, obnoxious organ chords and a really twisted sounding choir that sucks on helium balloons for a hobby. Oh yeah, and Mister Cowboy lead singer from The Resident's sings too. But again, this was before they wore that sound out completely. But it's all in fun, and when it's all in fun, well, anything can get past the snobby critics.

This is a fun EP and if you have to have at least one album full of incidental, failed stage shows from The Residents, well you should first have your head examined, and then you should have this one. If not, well then, absolutely nothing will happen, but you will eventually pass away not ever having heard this before. Hmmm, kind of makes you stop and think, doesn't it? No? Well then go finish your cauliflower pizza! Oprah loves them!

 Buried Secrets by PAINKILLER album cover Studio Album, 1992
3.31 | 11 ratings

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Buried Secrets
Painkiller RIO/Avant-Prog

Review by Gallifrey

2 stars Listening diary 10th August 2021: PainKiller - Buried Secrets (jazzcore, 1992)

I remember being really impressed by this one once, but I feel like I was more impressed by its existence than anything else. It's definitely something to behold - grindcore with a manic freewheeling John Zorn on top, blasting saxophone noises in all directions over a rapidfire set of tracks. But as much as I love sax noises, even some of Zorn's ones, these? He's basically overblowing for 20 minutes straight here, and once you get used to the insanity, it's not a particularly pleasant sound. But then again, when has grindcore ever been about being pleasant?

5.0 (4th listen)

Part of my listening diary from my facebook music blog - www.facebook.com/TheExoskeletalJunction

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RIO/Avant-Prog bands/artists list

Bands/Artists Country
1870 (MIL OCHOCIENTOS SETENTA) Mexico
LA 1919 Italy
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
AD NAUSEAM United Kingdom
AFENGINN Denmark
AFTER DINNER Japan
AFUCHE United States
AHLEUCHATISTAS United States
AHVAK Israel
AIR CANDA Russia
AKINETÓN RETARD Chile
AKSAK MABOUL Belgium
ALAMAAILMAN VASARAT Finland
ALBOTH! Switzerland
TOM ALDRICH Netherlands
ALEX'S HAND United States
ALFIE RYNER France
ALTERED STATES Japan
AMOEBIC ENSEMBLE United States
DIE ANARCHISTISCHE ABENDUNTERHALTUNG Belgium
ANATROFOBIA Italy
ANDREW MOORE'S CHAMBER WORKS United States
ÁPOLÓK Hungary
APPENDIX Slovakia
ARANIS Belgium
ARBETE OCH FRITID Sweden
THE ARCHESTRA Belarus
ARIA PRIMITIVA France
ARKTIS / AIR Austria
ARMON KUILU Finland
ARS DE ER Belarus
ART BEARS United Kingdom
ART FLEURY Italy
ART MOULU France
ART ZOYD France
THE ARTAUD BEATS United Kingdom
ARTERIA Mexico
ATHANOR France
ATOMIC APE / RED FICTION United States
AUKTYON Russia
BABLICON United States
BANDA ELÁSTICA Mexico
ARRIGO BARNABÉ Brazil
BARNACLED United States
BARRICADE France
GRECO BASTIÁN Mexico
LES BATTERIES France
BBP UNDERGROUND ORCHESTRA Czech Republic
BEGNAGRAD Yugoslavia
BOB BELL Canada
BIG BLOCK 454 United Kingdom
BIG FARM United States
BIRDSONGS OF THE MESOZOIC United States
BISE DE BUSE France
IVA BITTOVÁ Czech Republic
BLACK ENGINE Italy
BLACK MIDI United Kingdom
MICHEL BLANC France
BLAST Netherlands
BLITURI Canada
THE BLITZOIDS United States
THE BLUE SHIP United Kingdom
BLUEPRINT HUMAN BEING Finland
BOAT DARES United States
BOLTZMANN BRAIN Germany
BONE Multi-National
THE BOOK OF KNOTS United States
BOREDOMS Japan
BOSNNIA Argentina
BOX Multi-National
FRANÇOIS 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
ÇA France
DOS CAFUNDOS Brazil
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 CÔNDOR Chile
THE CELLAR AND POINT United States
CERBERUS SHOAL United States
CHAINSAW JAZZ United States
CHARMING HOSTESS United States
CHEER-ACCIDENT United States
CHÊNE 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
COMPASSIONIZER Russia
LINDSAY COOPER United Kingdom
COSA BRAVA United States
CREEDLE United States
CRO MAGNON Belgium
CAIO CSIZMAR Brazil
CTHULHU RISE Ukraine
CUCAMONGA Argentina
CUDÙ Italy
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
DARRIFOURCQ HERMIA CECCALDI Various
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