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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 27/8/2014

Steve (HolyMoly) ... team leader
Luca (octopus-4)
Ori (frippism)
Ian (Nogbad_The_Bad)

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 | 1134 ratings
HOT RATS
Zappa, Frank
4.32 | 625 ratings
ONE SIZE FITS ALL
Zappa, Frank
4.30 | 651 ratings
THE GRAND WAZOO
Zappa, Frank
4.64 | 31 ratings
HÄXAN
Art Zoyd
4.30 | 209 ratings
SING TO GOD
Cardiacs
4.61 | 31 ratings
Гуси-Лебеди / GEESE AND SWANS
Vezhlivyj Otkaz
4.27 | 294 ratings
CHOIRS OF THE EYE
Kayo Dot
4.28 | 221 ratings
UZED
Univers Zero
4.31 | 126 ratings
IN EXTREMIS
Thinking Plague
4.43 | 51 ratings
ZABRANJENO PLAKATIRATI
Buldozer
4.27 | 191 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.25 | 206 ratings
MÅLTID
Samla Mammas Manna
4.35 | 70 ratings
JEAN LOUIS
Jean Louis
4.48 | 36 ratings
SIRENS AND SILENCES/WORK RESUMED ON THE TOWER
News From Babel
4.38 | 51 ratings
BOOK M
Secret Chiefs 3
4.24 | 159 ratings
WESTERN CULTURE
Henry Cow
4.22 | 197 ratings
HERESIE
Univers Zero
4.30 | 69 ratings
DUCK STAB / BUSTER & GLEN
Residents, The
4.55 | 25 ratings
LETTERS HOME
News From Babel
4.25 | 96 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

PLAYS STANDARDS
Ground Zero
DOOR FLOOR SOMETHING WINDOW: LOOPING HOME ORCHESTRA LIVE 92-93
Hollmer, Lars
LABIRINTO D'ACQUA
Yugen
TIGROVA MAST
Tigrova Mast

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Latest RIO/Avant-Prog Music Reviews


 The Dream Membrane (with David Chaim Smith & Bill Laswell) by ZORN, JOHN album cover Studio Album, 2014
4.00 | 1 ratings

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The Dream Membrane (with David Chaim Smith & Bill Laswell)
John Zorn RIO/Avant-Prog

Review by admireArt
Collaborator PSIKE Team

— First review of this album —
4 stars A dark drone like mass.

As I have stated somewhere along these PA pages, I am a Bill Laswell buff, therefore anything that has his name on gets my full attention. John Zorn is no stranger to nobody, less to Mr. Laswell, they have met more than once.

David Chaim Smith, in this 2014 "The Dream Membrane", is the glue that holds both master musician´s skills. The whole musical concept derives from his texts and images, so its "field day" for both musicians to indulge in their well known musical composition talents and emerge as a perfectly balanced team.

John Zorn is given full space to take matters into his hands and explode freely, for real, his wind-works virtuosity and from scratch he builds up to high eerie altitudes.

Bill Laswell (sadly missing in PA) is, as everybody knows, highly creative, always proposing new musical directions and unobtrusive when needed. Yet always there with his astounding Bass guitars and Atmospheres to play along with the crooning voice and the delirious Sax player in this project.

As far as the music goes, I can assure to most or not that "average" prog-audiophiles, that this drone like mass will leave you enlightened in some very "Dark" and novel ways, without playing the quiet cliched "Devil" worshipping music, which as far as me, has become a repetitive joke.

****4 PA stars.

 From Scratch by TAYLOR'S UNIVERSE album cover Studio Album, 2015
3.82 | 2 ratings

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From Scratch
Taylor's Universe RIO/Avant-Prog

Review by Ovidiu

4 stars FROM SCRATCH is the latest musical offering from the great Danish musician-Robin Taylor!It's a new album under many aspects and I must say,from the beginning,that I was really impressed by the freshness and new breeze of the musical message on this album!Starting with an uptempo song-OTHER MEETINGS,a quite unusual rhythmed composition for Mr Taylor ,the album continues in a very inspired note,with the wonderful track BETA X...and so on.Well,definitelly,there is a Robin Taylor trademark in music,and this album doesn't make any exception of the rule !The wonderful,crystallyne production is a major plus for an already very inspired musical material!I sincerelly adore the great work on sax provided by the faithful collaborator Karsten Vogel and the wonderful vocal interventions of some great female vocalists.The whole ensemble is a very solid one,the rich orchestration imagined by the musical genius of Robin Taylor is extremelly well organized and offer to the listeners great sonic landscapes...or audio landscapes!This mesmerising music is putting you in a very melancholic mood,it gives you a whole frame of free imagination,to travel with your mind wherever you dream to go!All compositions are quite long-only one is under he 3 minutes timing!Definitelly,FROM SCRATCH is another brilliant album made by a very inspired musician of our days,and shows at 100 % the fact that progressive music has endless ways of expression,and offers a huge,wide range of musical expressions to his fans !!The timing of the album is perfect too-almost 45 minutes of solid RIO/AVANT PROG music,music for open minded listeners ,good quality music!In the end the reward is more than marvelous-the feeling and satisfaction of the audition of a great album,rich in it's musical expressions and meanings!One more thing,the cover looks great,a post apocaliptic image of an abandoned factory structure at the end of civilization ,connected to the world by a railway.....and somehow it reminds me a little something related to the fall of the communism...an abandoned factory in a forgotten corner of the civilized world...but there is still a connection to the world,made by the railway.....The strange colour of the sun is great too....it's an undefined twillight.....!!!4.50 solid stars from me and a sincere BRAVO to the author!
 NichelOdeon Boxset/Compilation, 2013
3.67 | 12 ratings

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NichelOdeon "Bath Salts" + InSonar "L'Enfant et le Ménure"
Nichelodeon RIO/Avant-Prog

Review by Conor Fynes
Prog Reviewer

3 stars 'Bath Salts + InSonar "L'Enfant et le Ménure' - NichelOdeon/InSonar (59/100)

I don't think it would be fair to call Bath Salts + L'Enfant et le Mènurea real 'split' album; both are driven by the same core member (Claudio Milano) and both operate by similar guidelines. Both NichelOdeon and InSonar could be resomably described as 'avant-ambient' progressive rock, both projects' included albums are unreasonably long, both projects highlight Claudio Milano as a brilliant vocalist, and both employ far more guest musicians than they rightly know what to do with. In a sense, L'Enfant et le Mènure and Bath Salts are close mirrors of one another. While the former goes for an 'everything but the sink' approach to avant-prog (that ultimately leaves it feeling indistinct) Bath Salts grounds the sound a little more, cutting out some of the unnecessary filler and capitalizing purely on Milano's voice. Between the two, Bath Salts is endlessly better than its counterpart. Listening to the two back-to-back only reinforces this notion.

Eating up over three hours cumulatively, Bath Salts + L'Enfant et le Mènure isn't something I would recommend be heard in a single listen. Even one of these albums can be tough to get through at once; not necessarily due to the quality but the aimlessly subdued instrumentation shared by both albums. Even the strongest material here demands a level of patience some listeners may not have. If you're thinking about getting into this, check out the first disc of Bath Salts; it's the most grounded and consistent of the four CDs, and arguably delivers the best experience. As a final word, I'd like to bring attention to the album's packaging. The cardboard layer atop the CDs and booklets is plain, save for the green imprint of lips atop it. I think it reflects the music here fairly well; minimalism, with an almost out-of-place theatrical touch.

 Bath Salts by NICHELODEON album cover Studio Album, 2013
3.55 | 13 ratings

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Bath Salts
Nichelodeon RIO/Avant-Prog

Review by Conor Fynes
Prog Reviewer

4 stars 'Bath Salts' - NichelOdeon (74/100)

What is the strangest musical instrument? Some might quickly tell you it's the theremin or the kazoo- fringey musical tools that sound downright alien (or hilarious, respectively speaking) to the untrained ear. A few might even go a step further and bring up a range of rare and 'invented' instruments. I think the relative truth is much simpler. The strangest musical instrument is, without a doubt, the human voice. It's understandable why that notion's so commonly overlooked; even the best singers usually only use a fraction of their voice's potential.

I think Claudio Milano's art stems from this willingness to push those boundaries and explore the untapped potential trapped behind the veil of conventional singing. NichelOdeon's Bath Salts is minimalist in most other sense; with most of the backing instrumentation left up to harps and similarly subdued palette, plenty of room is available for Milano's to exercise every nook of his vocal chords.

The result of this oddly obsessive style is one of the weirdest albums I have heard in a long time. While it's well- possible that NichelOdeon were influenced in part by Italy's longstanding progressive rock scene (this was the expectation I had of the album going into it), the only significant crossover between this and RPI conventions are the vocals themselves; Italy's experimental music scene has always had a tendency to favour vocal theatrics, and NichelOdeon are no different. Claudio Milano's voice is emotive and wonderfully operatic; it's not a stretch to imagine him performing his part on stage before a crowded theatre.

The biggest initial surprise in NichelOdeon's sound is how subdued most of the instrumentation is. Although the music occasionally takes an unexpected turn (hear: the percussive jazz break towards the end of " L'Urlo ritrovato" ) most of the music is performed with the lightest of instruments; most significantly. There is rhythmic energy on Bath Salts. There were many times throughout the album where I felt like I was listening to a resonant harp performance in some Medieval court or tavern; other times- when more lavish strings came into play- it sounds like Milano is singing atop a classical chamber group. That only accounts for a part of NichelOdeon's work on Bath Salts, too. Clocking in at well over an hour and a half, it would be tedious to have taken note of every stylistic hiccup and detour. With regards to the album's overall impression, it should be enough to say that while the instrumentation is never bold enough to compete for the listener's attention, NichelOdeon echo enough variations on classical, jazz and ambient music to keep it charming, even if it sounds too restrained to have kept my attention without the voice of Claudio.

As Bath Salts goes on, the music becomes darker, more experimental; NichelOdeon don't stray far from the 'medieval-chic' instrumentation, but Claudio Milano's vocals become increasingly strained. On the first disc (Capitolo I. D'Amore e di Vuoto) Claudio is soft and warm, with dramatic heights ascending, only to reel in again. Capitolo II. Di Guerre e Rinascite is more experimental. There are times on the latter half where Claudio conjures his inner Mike Patton; familiar RPI-variety operatic vocals give way to a manner of overlapping screams, disharmonies and disjointed sprechgesang. The instrumentation never achieves a fraction of the same energy as the vocals, but NichelOdeon left many of their most jarring ideas for the final act.

While I love Capitolo I, the more challenging approach on the latter half actually holds the album back. True to Mike Patton traditions (if you're ever in the mood to listen to the worst album ever by the way, check out his Adult Themes for Voice) the screechy vocalizations wear out their welcome quickly. Claudio Milano is one of the best operatic singers operating within an experimental context, but no amount of vision or talent can make it enjoyable to listen to someone sound like they're choking on their own tongue.

It should go without saying, but Bath Salts is far longer than it rightly should have been. Despite the eclectic range of sounds, the ambient mood of most of it makes it sound a lot less diverse than it really is. Even having heard Bath Salts multiple times, I can't believe that over thirty musicians took part on it. It may just as well be considered the work of one man. Claudio Milano's voice is a treasure, and most of the album rides on that strength. Just like Peter Hammill (whom Claudio tributes in a cover of Van der Graaf Generator's "The Looking Glass" on the first disc) Milano is a vocalist who treats his voice like a full-fledged instrument. Even if I'm not thrilled by the album's more technical excesses, his voice is such that dozens of backing musicians cannot hope to trump it.

In the end, I'm not sure how to classify this unique expression. A deconstruction of Italian prog? 'Avant-ambient'. maybe? This is a beautiful album for the most part, but it's not for the faint of heart.

 UKIYOE - Mondi Fluttuanti (with Insonar) by NICHELODEON album cover Studio Album, 2014
4.26 | 9 ratings

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UKIYOE - Mondi Fluttuanti (with Insonar)
Nichelodeon RIO/Avant-Prog

Review by Aldebaran_Well

5 stars Dear reader: Imagine a puzzle that is consisted of thousands of tiny pieces that form a wonderful, colorful but somehow abstract and blurred picture, one that you are not so sure about what it shows. Now, try to imagine that this picture is moving, that there is motion in this puzzle and that every time you're looking at it, it seems different, as if dimensions, angles and colours dance in a mysterious movement. Finally, transfer this impression from the realm of sight to the realm of hearing, transform vision into sound and you'll start to have an idea what ''UKIYOE'' is about. Reviewing such an artistic construction is really challenging and we have to clarify the basics first.

This release comes in a beautiful digipack and contains one cd and one dvd. The first disc is Nichelodeon/InSonar's ''UKIYOE'' (Mondi Fluttuanti) - meaning Flowing World - and the dvd features Francesco Paolo Paladino's short film '' Quickworks & Deadworks''. We'll say some things about the film later, for now let me just say that, though the two projects can be enjoyed separately, it's their unification that provides a full aspect of how grandiose this work truly is.

Nichelodeon and InSonar are two different collectives led by the mastermind vocalist/composer/lyricist/painter/visionary Claudio Milano. These collectives join forces for this concept and Milano, along with the sound engineer Paolo Siconolfi and Paladino, is the unquestionable maestro of this effort. Claudio's unbelievable 7 octave-ranged voice may outshine everything else but don't underestimate the other two guys ' part. Paladino provided the primary idea for ''UKIYOE'' and Paolo's outstanding work holds everything together. If Claudio's voice is planet earth then Paolo's soundscapes are its axis. This duo coordinates a tremendous 30 people personnel, producing any sound, instrument or mood you can imagine, in only 45 ecstatic minutes. It seems that the cream of Italian - and not only - avant scene is gathered here. Representatives of other collectives (OTEME, Deadburger Factory, Alessandro Seravalle of Genoma and of the mighty Garden Wall, to name a few), composers, classical and jazz musicians, experimentalists, etc. One might be concerned that such an ambitious gathering would create a chaotic result but fear not: every sound and performance, no matter how epic or tiny, serves a specific role in forming the big picture I described earlier. Everyone is in balance before the great artistic aspiration of creating a magnus opus.

The thematical core of the concept is water - literally and metaphorically, as I perceive it. The state of flowing, in mind-body-spirit, as Plato would say, the realization of life and of the world as a constantly moving organism that one cannot grasp, imprison or entirely comprehend, a mystical entity of its own. The music delivers the same ''liquidness'', it always slips your fingers the exact moment you think you caught it. Don't expect genre analysis here, it is pointless. If I said to you that there are classical, jazz, RIO, electronic and whatever else elements, this would be a hubris to art itself. This is avant garde music at its best, art beyond space and time and as every great avant album, it cannot be fit into words but can only be experienced. The depth of the experience depends on the listener: if you surrender to it, you will be wholeheartedly rewarded.

Before proceeding to the album tracks, a very important fact in ''UKIYOE'' must be explained. All music is built in an interactive manner. This means that during the production, each channel of sound has been treated in an aperformative way - in Claudio's words - raised and lowered spontaneously, so that the right conceptual mood is expressed, making studio console the final and definitive creative tool. This produces asymmetrical sounds and catalysis of form but, thanks to the excellent production and sound design, no sound ''hole'' or ''peak'' is ever being realized. Instruments come and go unexpectedly, in unpredictable colors and rhythms, like an anarchic tide. Still, the higher law of nature rules all tides, as art rules this album's unconventional form, sounds and structures. A deeper harmony can be sensed. The final factor of interaction comes from the listener: Having to focus on so many different sources and aesthetics means that every listening differs from the other. The listener has the power to shape '' UKIYOE'' by will, depending on his/her receiving point of view. So, it's time to dive in this musical ocean!

Track 1: Veleno (Venom, thankfully in the booklet all titles and lyrics are translated in English), 6'35''. Lyrics by Milano. This Milano/Siconolfi composition is the perfect introduction as it is relatively easy to approach. It is the most classical song of the album and is based on Claudio's operatic vocals -supported by soprano Laura Catrani. His performance is almost frenzy as he goes up and down in notes and modes for 6 minutes, building amazing harmonies and demonstrating the melodic strength of his voice. Strings support this atmosphere whereas the clarinet is also a bit jazzy. In the middle, an almost drone part steps in (obviously Seravalle is the man responsible), strings grow tension and walls of sounds and effects lay discretely at the back. It's probably my idea but I sense an irony in Claudio's performance in the major parts, especially if the surrealism and deep agony of the lyrics are taken into account. In the second part, Luca Pissavini's upright bass is simply genius. ''Veleno'' is astonishing, mild as a summer breeze but with many treasures if you dig in.

Track 2: ''Fi(j)uru d' Acqua'' (Flower/Son of Water), 4'52'', based on a Rilke's poem. (If you haven't read Rilke's poetry, well, you should visit the nearest library right now). This is probably the album's most ''prog'' moment, mainly because of the complex time signatures and the brilliant arrangement of many different sounds and grooves. Great performing and orchestrating work by OTEME's Stefano Giannoti here. In the beginning, the song is structured upon the piano and electronics of the composer Josed Chirudli (the electronic rock of Puscifer came to my mind) before it is all smashed into pieces. The percussion parts are truly majestic, Claudio's lines are quite abstract and the harmonium (which is the basic instrument throughout the whole record) creates a certain color of melancholy, all forming a ''Mediterranean Rock In Opposition'' indeed. This flower blooms in both poetic and schizophrenic ways!

Track 3: ''Marinaio'' (Sailor), 9'06'', lyrics by Paladino. Vittorio Nistri and Erica Scherl join the rest of the composing crew; this is mainly a string composition after all. The apparent goal is to represent a ship voyage, a rather adventurous one I might add. And what an epic voyage this is! There are many violin experimentations, Milano gives his polyphonic show for almost three minutes before he disappears, leaving open space for the creation of incredible instrument noises. Piano, strings, bass, electronics, seagulls, everything works together in order to transcend the boundaries of music. As the ship heads slowly in a straight course, so music evolves in a linear way, with the progressive building of an enigmatic, haunted feeling. In the end, everything fades slowly, like no one is left alive in a ghost-ship that still moves towards the shadows of the most distant horizon. Paladino's lyrics are simple but magnificent, it seems that heavy symbolisms lurk beneath words - something dark and subconscious.

Track 4: '' Oi Ma-Nel Mare che hai Dentro'' (Oh Mother!-Inside the sea you hold), 2'00'', lyrics by Milano. Now, if you think that 2 minutes isn't enough time for a masterpiece to be composed, you are clearly mistaken. This distorted-jazz pandemonium is beyond belief! Camillo Pace is almost my new hero after his composing and upright bass contribution to this track but let him not take all the credits: amazing vocal contribution by Dalila Kayros, Stefano Luigi Mangia and Luca Milano surround Claudio's jaw-dropping, breathless performance (do you see a strong resemblance with Mike Patton's experimental works?), ''normal'' drums and percussion by Andrea Quattrini (making it sound even more intense and vivid), and an orgy of tenor and soprano sax, leading things to a Lynch's ''Lost Highway'' kind of finale. The song also features the only chorus of the album and it has been stuck in my head for a week now...! Great, surreal lyrics, hard to be decoded but with glorious moments: '' I have good teeth but they are not clever enough to bite life''. Wow.

Track 5: '' I Pesci dei tuoi Fiumi'' (The Fish of your Rivers), 4'02'', lyrics from the Holy Bible, adjusted by Paladino. This is a very free and quite dark composition by Milano and Nistri. Claudio reaches his expressive peak with really weird and experimental sounds, in a track that at first unfolds like an industrial nightmare but it eventually transforms somehow into a religious, hymn-like tune (or actually its exact opposite). Of course the biblical theme pushes things into that direction but the saxophones, playing simple notes in Phrygian mode in the middle of the track, provide equivalent awe! Nistri' s noises lead the arrangements and Quattrini' s percussion once again offers a different, organic pulse. Hidden religion references lie throughout the album and this track establishes a solid connection between Nichelodeon/InSonar and the divine world. A song of pure mysticism, in sound and spirit.

Track 6: ''Ma(r)le'' (Sea/Evil), 19'18'', lyrics by Paladino. Actually, this is a 3 part composition. Part 1 is called ''Tsunami'' and it lasts 3 minutes. Stefano Ferrian's sax kicks off this epic trilogy, before percussion and vocals take over, though it is Marco Tuppo's electronics that ultimately steal the show. The 9 minutes long Part 2 ('' Into the waves'') is basically an improvisational dialogue between Claudio's vocal acrobatics and Fabio Zurlo's magnificent accordion. Violin and distorted upright bass also contribute to the creation of a very colorful track, with intensive shades of cinematic nature. Belgian artist Erna Franssens (aka KasjaNoova) provides pre-vocalic/shamanic sounds and makes an instant impression! Finally, part 3 (''Mud'') is truly a twisted guitar concerto, expressed through Seravalle & Eugenio Sanna's experimentations. Don't expect riffs but noises and drones coming out of an instrument we all believe we know well. Strange and dark guitar soundscapes are constructed while Scherl's violin increases the feeling of suffocation. Probably the album's most experimental track. The end of the voyage!

Milano states that this record is the voyage of a ship on top of a maelstrom. Personally, it felt more like an odyssey within waters. One begins from a cool mountain spring, becomes river and waterfall, meets the vastness of the ocean, dissolving into the depths or swimming close to the sunny surface, turning into waves and finally mud. Concentrate on all of the above as emotions, not images. One last remark: to surrender musically to dark paths would be the easy way, as many avant garde artists usually do. Nichelodeon/InSonar's approach remains close to the light though; I believe that there is optimism behind this quest, a yearning for happiness in life. I think that this is very important - and admirable.

There is an amazing list of references in the booklet, ranging from artists that one could expect (Swans, Henry Cow, Art Zoyd, John Zorn etc.) to big surprises like Radiohead, Kate Bush, Tool, Burial, David Sylvian. My vote goes to Ulver and Devil Doll, bearing distant artistic resemblances with Claudio's visions. Allow me to add some references of my own, not to clear the mist around this album but to further thicken it! Barry Truax - Riverrun. Coil - Musick to play in the dark (one of the best headphones-album ever). Eyes Wide Shut OST. Puscifer. Definitely Grails. Diamanda Galas. Univers Zero. Erik Truffaz.

''Quickworks & Deadworks'' is a 25 minutes short film by Paladino. It is slow, kind of weird, filled with symbolism and surrealism. It features music from ''UKIYOE'' ? perfectly fitting ? and it, somehow, carries the philosophical messages of the album into the real world, into people's relations and desires. In my opinion, the film strengthens the music and vice versa, like watching two good friends talking about the same things in completely different ways. Illustrations and paintings on the digipack by Claudio himself. Jellyfish fly in the sky. Is this prog or what?

This is Nichelodeon/InSonar's ''UKIYOE''. A piece of art that is truly important, independent and free. An album that demands many things from the listener and gives many in return. Of course, it is not made for all, but the ones that should pay attention must have taken the message so far. According to my rating system, this is a 91/100 album and certainly one of 2014's highlights. Congratulations to Claudio and co. Eagerly waiting to see what's next!

5 very liquid stars!

 Гуси-Лебеди / Geese and Swans by VEZHLIVYJ OTKAZ album cover Studio Album, 2010
4.61 | 31 ratings

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Гуси-Лебеди / Geese and Swans
Vezhlivyj Otkaz RIO/Avant-Prog

Review by Lear'sFool

5 stars Avant-prog generally doesn't cross with prog folk, but Polite Refusal seemingly took that name to show how little they care for such a barrier. This some rather dour, brooding folk worthy of Russia that does not shy away from proggy, experimental leanings. It makes for a fascinating listen, and gives Univers Zero's work a run for its money in terms of darkness... and quality. There is a good variety of instruments and instrumentation, the shadows permeate the music in the best way, and boy, can the band play. Thus far the avant-prog highlight for the 2010's, and won't be conceding that position easily, let alone ever fall out of my favour. Highly recommended to avantheads and adventurous folk aficionados.
 Lazarus by ROZ VITALIS album cover Studio Album, 2003
2.45 | 7 ratings

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Lazarus
Roz Vitalis RIO/Avant-Prog

Review by apps79
Special Collaborator Neo Prog Team

1 stars The creative period for Ivan Rozmainsky and his group continued in 2003 with the third studio work and second full-length album ''Lazarus'', named after the biblical figure of the same name.Again Natalia Agapova contributes vocals in one track, Ekaterina Sophronova returns behind the micrphone in another one and Sergey Laskin plays the guitar in the last 22-min. epic piece.The album came out only in CD-R format.

Once more Roz Vitalis' deeply irritating, cosmic and outlandish Avant-Garde soundscapes would be a hard task even for the mystified listeners of experimental music.The material on ''Lazarus'' is atonal, experimental and extremely complicated to the point it becomes completely forgettable.A mixture of Classical and Avant-Garde Music, Minimalism, Baroque-period sounds, Ethnic Music and Fusion with a questionable result, propelled by the everchanging keyboards and programming of Rozmainsky and his colleague Vladimir Polyakov.With the vast amount of the music coming out of the keyboards, this whole thing sounds as digital as it gets with Indian and Gregorian influences placed in the same piece, the drums sounding absolutely fake and the synthesizers evolving as too abstract and abnormal.I love those Classical takes on harsichord and piano and wish there was more of this style displayed in the album.To my ears this is not far from Experimental and Noise Music, plenty of sound effects, Electronic textures and Industrial vibes are completing a total mess without any certain direction.'' Leopard Hunt'' contains some pretty reasonable E.L.P. values and the long farewell suite, ''Becoming the poor-in-spirit'' is too extended not to contain some interesting symphonic and electronic themes, but the blending of ethnic touches with Classical Music are not that convincing.

Rozmainsky stated that this work got some airplay in national radio stations, but I wonder which track on the album could be a proper radio listening.Not an work I will return soon to.Dissonant, noisy, mechanical and heavily experimental.Pretty far from my tastes...1.5 stars.

 Suspended Animation by FANTOMAS album cover Studio Album, 2005
3.63 | 80 ratings

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Suspended Animation
Fantomas RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars SUSPENDED ANIMATION is the fourth album by the extremely bizarre super-group FANTÔMAS led by the always eccentric Mike Patton who once again doesn't disappoint in the weirdness department. On this installment in the FANTÔMAS universe we get a dual theme of incorporating their energetic speed sludge with cartoon music and other sounds of innocence ranging from children playing to little kids' toys. The album was released as a regular album and as a limited edition which is the one i have. This package is as bizarre as the music it holds. It is bound with one of those metal spirals that are on notebooks and it contains a mini calendar which has a page for each day in the month of April accompanied by the artwork of Yo[&*!#]omo Nara who blends the innocence of youth with dark and disturbing imagery.

After an album of soundtrack theme interpretation and another strange album that only contained one track lasting over an hour, FANTÔMAS goes back to the formula of their debut and ups the surreality a few notches by delivering an extreme roller coaster ride of sonic madness. This is some frantic stuff this one but the sound effects and music are seamlessly blended together coming and going without notice and the production is absolutely brilliantly executed and is dizzying to the mind how long it took to blend all these sounds and musical outbursts together so well. Generally speaking the thirty short tracks which start with some kind of cartoonish sound effects are either inspired by or directly borrowed from various sources including Warner Bros and other Carl Stalling creations and then morphs into energetic speed sludge hysteria. Mike Patton only creates wordless vocalizations which seem to take the lead in directing the rest of the band to follow.

There are all kinds of different rhythms, moods and sound effects streaming at the speed of light throughout this one but if you are already familiar with Mike Patton's other works including the other FANTÔMAS albums you will hear familiar ideas only tweaked to be even weirder than before. This is a hard listen at first (and second and third!!!) but if you embrace the extremely demented creations of maddened genii then you might appreciate this one. This exists in a universe that few will dare to tread but for those who do be warned that even though you will find hummable melodies galore, the franticness of this wild concoction will demand multiple listens to get the gist of.

 The Litanies Of Satan by GALAS, DIAMANDA album cover Studio Album, 1982
3.31 | 11 ratings

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The Litanies Of Satan
Diamanda Galas RIO/Avant-Prog

Review by Zeuhl Glikowski II

1 stars WHAT????!!!

This is real? I can't understand what is this exactly, i can't even describe how I feel about this... I'd never listen something like this before, it's hard to believe that this is considered music. I'm not saying this is bad, but in my opinion there is anything musical on this album... in some moments I wish to stop it and listen to The Monkees just to calm myself down.

This is very... how can I describe it in a word?... Creepy, I think the right adjective it's creepy, scarry, or... maybe...

Fortunately it's over, i'll never listen to this woman again in my whole life...

I do NOT recommend this album, specially if you suffer of nervous crisis, by the way, if you like creepy, dark and scary stuff, enjoy it...

 Fingerprince by RESIDENTS, THE album cover Studio Album, 1977
3.73 | 33 ratings

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Fingerprince
The Residents RIO/Avant-Prog

Review by TCat
Prog Reviewer

4 stars The third full album in The Residents discography is strange.....but since it's The Residents, then it's actually normal to be strange. In reality, if it could be called normal then it would have been the strangest album in their discography. So, just forget what I just said.

The music here was recorded between the years 1974-76 and released in 1977. It was supposed to be a double album but with only 3 sides. The record company decided it would be to costly to produce an album like that, so 4 songs were removed from the track list to make this into a single album, then in 1979, the EP "Babyfingers" was released and contained those missing 4 tracks. When the album was reissued as a CD in 1988, the original tracklist was restored. I'm going to review the single disc vinyl version here.

The first side consisted of the first 7 tracks as listed here, then as the 8th track had "You Yesyesyes Again" as the final track on that side. This group of songs consists of short songs. The first one spotlights Snakefinger who was the bands "resident" guitarist. It features an odd hook as the driving force of the song. As all of the songs on this first side, they are all quite simple anti-pop songs. Listening to these songs, you can hear foretellings of what the band Primus would sound like. There are definitely hints of Les Claypool throughout these songs. After the first track, the music remains quite minimalistic for the most part, which is not what Primus would sound like, but the sound they would adopt is more the cynical and satirical sound of The Residents, even the vocal delivery is similar. Track 8, which is a more "acoustical" (for want of a better term) reprise of the 1st track with a warped revisit of the strange hook and the addition of percussion similar to the ballet/suite that makes up the 2nd side of the album.

So, side 2 stays with an odd sound like you suspect. But in reality, it is quite different from the first side. This is made up of a six-part suite which was actually a modern ballet soundtrack of sorts. This music is very percussive with some electronics thrown in to create an anti melody. The Residents continue to create what sounds like the opposite of popular music....music that could be considered easy listening if it wasn't so avant garde. The suite is very much a foreshadowing of the masterpiece to come called "Eskimo" and it is interesting to hear how that sound began before it's maturity. I don't know if there is a better example of anti-pop than this. The music on this suite is much better composed than anything on the first half of the album, and these contrasts make the entire album quite interesting.

This entire album is not an easy listen, but if you realize that this music is the opposite of popular music, then it makes a little more sense, albeit a very warped sense. I find something intriguing and enticing about this music. It is strange though it isn't completely inaccessible either. But if you play it for a group of listeners that have not been warned, you will get weird looks and possibly banned from the people who consider themselves normal. So be warned. If you like this, then keep it to yourself. It's safer that way. In the meantime, I still think it's an excellent form of early avant-prog music that gives you an idea where future bands would get some of their inspiration. Most Residents fans are used to being fans in secret anyway, so don't feel bad, you are among geniuses like Mr. Claypool, Mike Patton, and the like.

Data cached

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
AKINETÓN RETARD Chile
AKSAK MABOUL Belgium
ALAMAAILMAN VASARAT Finland
ALFIE RYNER France
ALTERED STATES Japan
AMOEBIC EMSEMBLE United States
ANATROFOBIA Italy
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
ARTERIA Mexico
ATHANOR France
ATOMIC APE United States
BABLICON United States
BANDA ELÁSTICA Mexico
ARRIGO BARNABÉ Brazil
BARNACLED United States
BARRICADE France
LES BATTERIES France
BEGNAGRAD Yugoslavia
BOB BELL Canada
BIG BLOCK 454 United Kingdom
BIRDSONGS OF THE MESOZOIC United States
BISE DE BUSE France
IVA BITTOVÁ Czech Republic
BLACK ENGINE Italy
MICHEL BLANC France
BLAST Netherlands
THE BLITZOIDS United States
BONE Multi-National
THE BOOK OF KNOTS United States
BOREDOMS Japan
FRANÇOIS BREANT France
MARKO BRECELJ Yugoslavia
BREZNEV FUN CLUB Italy
HASSE BRUNIUSSON Sweden
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 CÔNDOR Chile
CERBERUS SHOAL United States
CHARMING HOSTESS United States
CHEER-ACCIDENT United States
CHÊNE NOIR France
GUIGOU CHENEVIER France
CHOU PAHROT United Kingdom
CICALA-MVTA Japan
THE CLAUDIA QUINTET United States
A CLEAN KITCHEN IS A HAPPY KITCHEN Belgium
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
THE DESERTS OF TRAUN United States
DEUS NUVEM Brazil
DIE ANARCHISTISCHE ABENDUNTERHALTUNG Belgium
DIE KNODEL Austria
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-MÈRE 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 HAVADIÀ Italy
ENSEMBLE NIMBUS Sweden
L' ENSEMBLE RAYÉ Switzerland
ENSEMBLE SUPERMUSIQUE Canada
EPN TRIO Argentina
EREHIA Mexico
ERTH Costa Rica
ESKIMO United States
ESTRADASPHERE United States
ETRON FOU LELOUBLAN France
EX-GIRL Japan
EX-P Italy
EXTRA LIFE United States
FACTOR BURZACO Argentina
PAVEL FAJT Czech Republic
BERNARD FALAISE Canada
FAMILHA ARTÚS France
FANTOMAS United States
FAR CORNER United States
FAT Canada
FERDINAND RICHARD France
UN FESTÍN SAGITAL Chile
FILTHY HABITS ENSEMBLE Spain
FINNEGANS WAKE Belgium
FIRE! Sweden
THE FLYING LUTTENBACHERS United States
FOREVER EINSTEIN United States
FORTRANGT HUSHALLSARBETE Sweden
FOTE / THE TRUTH CLUB United Kingdom
THE FRACTURED DIMENSION United States
FRENCH TV United States
FRIENDLY BEARS United States
FRED FRITH United Kingdom
FRANK-WILLIAM FROMY France
FUKKEDUK Belgium
DIAMANDA GALAS United States
GANNETS United Kingdom
GARAMOND Italy
GARGANTUA Poland
GATTO MARTE Italy
PATRICK GAUTHIER France
GEINOH YAMASHIROGUMI Japan
GESTALT ET JIVE Multi-National
GOD OF SHAMISEN United States
GODZIK PINK United States
GOLDBUG United States
GOLDEN AVANT-GARDE Japan
THE GORDON GRDINA TRIO Canada
GORGE TRIO United States
GRAMIGNA Italy
GRAND ULENA United States
LA GRANDE FORMATION Belgium
LES GRANULES Canada
GRAVITSAPA Ukraine
GROUND ZERO Japan
GRUPPO D'ALTERNATIVA Italy
GUAPO United Kingdom
GUNJOGACRAYON Japan
GUTBUCKET United States
GUTURA France
LES HALMAS Switzerland
HAMSTER THEATRE United States
HARDSCORE Belgium
HASIDIC NEW WAVE United States
THE HAT SHOES Multi-National
CHARLES HAYWARD United Kingdom
HELLEBORE France
HEMOPHILIAC United States
HENRY COW United Kingdom
HERBE ROUGE France
HESUS ATTOR Croatia
HI-SPEED Japan
HIKASHU Japan
TIM HODGKINSON United Kingdom
LARS HOLLMER Sweden
HONEY RIDE ME A GOAT United Kingdom
HORDE CATALYTIQUE POUR LA FIN France
HORRIFIC CHILD France
HOT FUR Israel
HÖYRY-KONE Finland
HUMBLE GRUMBLE Belgium
HUNUNHUM Japan
HYRROKKIN United States
I AM ABOVE ON THE LEFT Russia
LES I France
IDIOT FLESH United States
IMAHORITSUNEOYOSHIDATATSUYA Japan
LA INCREÍBLE FUGA DE TRIÁNGULOS Argentina
INFANTEPHANT United States
L' INFONIE France
INNER EAR BRIGADE United States
INSIDE//OUTSIDE United States
INTERFERENCE SARDINES Canada
IVOR AXEGLOVITCH Denmark
JACK DUPON France
CATHERINE JAUNIAUX Belgium
JEAN LOUIS France
SCOTT JOHNSON United States
JONO EL GRANDE Norway
JORK Ireland
JAKOB JUHKAM Estonia
JULVERNE Belgium
JUNGLE Japan
JUSTINE Canada
KAADA & PATTON United States
HENRY KAISER United States
KAM-PAS-NEL-LA Multi-National
HOPPY KAMIYAMA Japan
KAREN COOPER COMPLEX United States
KARENAUTAS Argentina
KATRA TURANA Japan
KATZEN KAPELL Sweden
KAUHUKAKARA Multi-National
KAYO DOT United States
MIKE KENEALLY United States
KILLING TIME Japan
KILLSONG Australia
KLAXON GUEULE Canada
KLETKA RED Multi-National
KLIMPEREI France
THE KNELLS United States
KNOMIGON United States
KOLKHÖZE PRINTANIUM France
KOMBINAT M Austria
KOMINTERN France
KOREKYOJIN Japan
KORMORANY Poland
KOROVA MILK BAR France
KRALDJURSANSTALTEN Sweden
DAGMAR KRAUSE Germany
KROKO Finland
KRUZENSHTERN & PAROHOD Israel
KUHA. Finland
KULTUR SHOCK Multi-National
KULU HATHA MAMNUA Switzerland
L'EFFET DEFEE France
LA 1919 Italy
LACRYMOSA Japan
LARS LACH'N JONSSON Sweden
LARSEN RUPIN Switzerland
LARVAL United States
LASK Germany
LAST EXIT United States
LEAN LEFT Multi-National
LED BIB United Kingdom
JOSE LUIS FERNANDEZ LEDESMA Mexico
JOHN DE LEO Italy
LIGHT COORPORATION Poland
LITAI Italy
LITTLE WOMEN United States
THE LOCALS Germany
LOOK DE BOUK France
LOVELY LITTLE GIRLS United States
LUNAPARK ENSEMBLE Japan
LUZ DE RIADA Mexico
MACROMASSA Spain
MAESTRO TRYTONY Poland
THE MAGIC BAND United States
MAKE A RISING United States
MAMMA NON PIANGERE Italy
MAN MAN United States
MANY ARMS United States
ALBERT MARCOEUR France
MASADA United States
MASADA STRING TRIO / BAR KOKHBA United States
LE MASCHERE DI CLARA Italy
MASSACRE United States
MESMERICO Italy
METABOLIST United Kingdom
METAL-O-PHONE France
METAMORPHOSIS Czech Republic
MIASMA AND THE CAROUSEL OF HEADLESS HORSES United Kingdom
MICROKINGDOM United States
MIRIODOR Canada
MIRTHKON United States
MIZUTAMA SHOBODAN Japan
MMCIRCLE Canada
MOE! STAIANO/MOE!KESTRA! United States
MOMBU Italy
MONKEY PUZZLE TRIO United Kingdom
MOONCHILD TRIO United States
MORKOBOT Italy
MORVISCOUS United Kingdom
MOSAÏC France
MOTOR TOTEMIST GUILD United States
MR. BUNGLE United States
MUCHO TAPIOCA France
THE MUFFIN MEN United Kingdom
LA MUJER BARBUDA Argentina
MUSEO HETERODOXO Peru
MUSICA D'REPUESTO Cuba
MUSICA TRANSONIC Japan
MYRBEIN Sweden
N.O.R.M.A. Italy
NAKED CITY United States
NAKED TRUTH United States
NAZCA Mexico
NE ZHDALI Estonia
NEBELNEST France
NEO Italy
NEWS FROM BABEL United States
NI France
NICHELODEON Italy
NIEW HIP STILEN Netherlands
NIMAL Switzerland
NINE TOBS Netherlands
NO SAFETY United States
NO SECRETS IN THE FAMILY Switzerland
NON CREDO United States
NOODBAND Netherlands
NOOUMENA France
NORMAL LOVE United States
NOUVELLES ETHNOLOGIQUES DE L'OBSCUR MUSEUM France
NOW WE'VE GOT MEMBERS Norway
NOXAGT Norway
NUCLEAR RABBIT United States
THE (EC) NUDES Multi-National
OCTAFISH Germany
OCTAVO France
OCTOBER EQUUS Spain
OLD TIME RELIJUN United States
OLIVE MESS Latvia
OOIOO Japan
OPABINIA Japan
OPTICAL*8 Japan
OPUS AVANTRA Italy
ORANGE TULIP CONSPIRACY United States
ORCHESTRA NJERVUDAROV Italy
THE ORDINAIRES United States
LAS OREJAS Y LA LENGUA Argentina
ORQUESTA METAFÍSICA Argentina
THE ORTHOTONICS United States
OSSI DURI Italy
OTEME Italy
OTOLITHEN Multi-National
OTOMO YOSHIHIDE Japan
OXOMAXOMA Mexico
P.O.N. Japan
PABST Germany
PAINKILLER United States
PAK United States
PALINCKX Netherlands
PANZERPAPPA Norway
PAPER MICE United States
PATAPHONIE France
MIKE PATTON United States
PERFUME DE MUJER Cuba
PERHAPS CONTRAPTION United Kingdom
LA PERRA Mexico
PFS United States
PIENZA ETHNORKESTRA France
PIG SOUL Brazil
PIKAPIKA TEART Russia
PISSUK RACHAV Israel
PITOM United States
THE PLASTIC PEOPLE OF THE UNIVERSE Czech Republic
PLOZ Canada
POCHAKAITE MALKO Japan
POCKET ORCHESTRA United States
KIMMO POHJONEN Finland
POIL France
POKERFACE Sweden
LES POULES Canada
PRESCOTT United Kingdom
PRESENT Belgium
PROSESSOR BALTHAZAR Norway
PSYNKOPAT Sweden
PULSOPTIONAL United States
PUNGO Japan
PUSH THE TRIANGLE France
QUATEBRIGA Yugoslavia
QUINTORIGO Italy
RABBINICAL SCHOOL DROPOUTS United States
RADIATION10 France
RAMLOSA KVALLAR Sweden
THE RANCID YAK BUTTER TEA PARTY United States
RAPA NUI Peru
RASCAL REPORTERS United States
RATIONAL DIET Belarus
RATTLEMOUTH United States
RECREATION Belgium
RED BALUNE United Kingdom
THE RED MASQUE United States
RED NOISE France
ALEC K. REDFEARN AND THE EYESORES United States
REDRICK SULTAN Canada
REPORTAZ Poland
THE RESIDENTS United States
RESISTENCIA CHACO Argentina
LES RHINOCÉROS United States
ALESSIO RICCIO Italy
HARRY ROESLI Indonesia
ROUGE CIEL Canada
ROZ VITALIS Russia
SAJJANU Japan
SALLE GAVEAU Japan
SAMLA MAMMAS MANNA Sweden
SARLO AKROBATA Yugoslavia
SATANIQUE SAMBA TRIO Brazil
MASAHIKO SATOH AND THE SOUNDBREAKERS Japan
DIONYSIS SAVVOPOULOS Greece
DANIEL SCHELL & KARO Belgium
THE SCIENCE GROUP Multi-National
SCORCH TRIO Multi-National
SEABROOK POWER PLANT United States
SEBKHA CHOTT France
SECRET CHIEFS 3 United States
SHINING Norway
SILENCIO United States
LE SILO Japan
SIR MILLARD MULCH United States
SIX CYLINDRES EN V France
SKELETON CREW United States
SLAPP HAPPY Multi-National
SLEEPYTIME GORILLA MUSEUM United States
SMEGMA United States
SNAKE OIL France
SNAKEFINGER United Kingdom
SNARLING ADJECTIVE CONVENTION United States
THE SOCIETÀ ANONIMA DECOSTRUZIONISMI ORGANICI Italy
LA SOCIETE DES TIMIDES À LA PARADE DES OISEAUX France
SONAR Switzerland
SONS OF CEPHEIDS United States
SOT Norway
SOTOS France
SPALTKLANG Switzerland
SPECIES BEING United States
STABAT AKISH France
MARK STANLEY United States
STARRING United States
STEAMBOAT SWITZERLAND Switzerland
SIMON STEENSLAND Sweden
STOP MOTION ORCHESTRA United States
STORMY SIX Italy
STRANGE CHANGES United States
STRIPSEARCH United States
SUBTILIOR Italy
SUN CITY GIRLS United States
SUPERDENSECRUSHLOADFACTOR Australia
SWEET POTATO United Kingdom
SYNKOKE Norway
SZENTENDRE France
TACO Japan
TAIRIKUOTOKO VS SANMYAKUONNA Japan
TAMANDUA United States
TAPETTO TRACI France
TARTAR LAMB United States
TAYLOR'S FREE UNIVERSE Denmark
TAYLOR'S UNIVERSE Denmark
ROBIN TAYLOR Denmark
TENKO Japan
TEXTBOOK OF MODERN KARATE Italy
THINKING FELLERS UNION LOCAL 282 United States
THINKING PLAGUE United States
THIS HEAT United Kingdom
JACQUES THOLLOT France
THONK Switzerland
THRANGH Italy
STEVAN KOVACS TICKMAYER Serbia
TIGRESS AND THE U-FRAIDEES United States
TIGROVA MAST Croatia
TIME OF ORCHIDS United States
TIPOGRAPHICA Japan
TOM MOTO Italy
TONE DOGS United States
TOUPIDEK LIMONADE France
TR-OND & THE SUBURBAN SAVAGES Norway
TRANSELEMENT / ELEMENT United Kingdom
TRAP United States
TRAWLER BYCATCH United States
TRIBAL LOGIC Russia
TRIBRACO Italy
TRIPLE ZERO France
YASUTAKA TSUTSUI / KOHSUKE ICHIHARA / MASAHIKO SATOH Japan
U TOTEM United States
UDUS Italy
UKANDANZ France
ULTRA ZOOK France
UNBELTIPO Japan
UNIVERS ZERO Belgium
UNREST WORK & PLAY United Kingdom
UPSILON ACRUX United States
UR KAOS Sweden
UT GRET United States
UZ JSME DOMA Czech Republic
VERTO France
VEZHLIVYJ OTKAZ Russia
VIALKA France
VIDEO-AVENTURES France
VIRGULE IV France
VLADIMIR BOZAR N ZE SHERAF ORKESTÄR France
THE VOID'S LAST STAND Germany
VOLAPÜK France
VOLCANO THE BEAR United Kingdom
VOLUNTARY MOTHER EARTH Japan
VON ZAMLA Sweden
VORTEX France
WAPASSOU France
WHA-HA-HA Japan
WHEN Norway
DAVE WILLEY United States
WONDEUR BRASS Canada
THE WORK United Kingdom
THE WORLD HERITAGE Japan
X-LEGGED SALLY Belgium
XAAL France
XHOHX Belgium
YBO² Japan
YETI United States
LES YEUX DE LA TÊTE France
YOG SOTHOTH France
YOLK France
YOLK Switzerland
YONHOSAGO Chile
TATSUYA YOSHIDA Japan
YOWIE United States
YUGEN Italy
ZAAR France
THIERRY ZABOITZEFF France
ZAMLA MAMMAZ MANNA Sweden
FRANK ZAPPA United States
TOM ZÉ Brazil
ZEVIOUS United States
ZLETOVSKO Japan
ZNR France
ZOAMBO ZOET WORKESTRAO Slovenia
ZOOLIXO LIGO Greece
JOHN ZORN United States
ZS United States
ZU Italy
ZUT UN FEU ROUGE Sweden
ZYPRESSEN Japan

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