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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 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

4.32 | 1316 ratings
HOT RATS
Zappa, Frank
4.56 | 51 ratings
HÄXAN
Art Zoyd
4.31 | 776 ratings
THE GRAND WAZOO
Zappa, Frank
4.31 | 754 ratings
THE MOTHERS OF INVENTION: ONE SIZE FITS ALL
Zappa, Frank
4.61 | 36 ratings
TAIGA
OOIOO
4.33 | 148 ratings
IN EXTREMIS
Thinking Plague
4.30 | 268 ratings
UZED
Univers Zero
4.31 | 227 ratings
SING TO GOD
Cardiacs
4.45 | 59 ratings
BOOK M
Secret Chiefs 3
4.44 | 60 ratings
NO 6
Present
4.27 | 333 ratings
CHOIRS OF THE EYE
Kayo Dot
4.28 | 191 ratings
WESTERN CULTURE
Henry Cow
4.26 | 239 ratings
HERESIE
Univers Zero
4.41 | 57 ratings
DECEIT
This Heat
4.39 | 56 ratings
ZABRANJENO PLAKATIRATI
Buldozer
4.44 | 44 ratings
Гуси-Лебеди / GEESE AND SWANS
Vezhlivyj Otkaz
4.53 | 31 ratings
LETTERS HOME
News From Babel
4.31 | 85 ratings
ON LAND AND IN THE SEA
Cardiacs
4.24 | 206 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.28 | 109 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

KOTEGARDA
Gargantua
VÈCI
Combo FH
DOOR FLOOR SOMETHING WINDOW: LOOPING HOME ORCHESTRA LIVE 92-93
Hollmer, Lars
PLAYS STANDARDS
Ground Zero

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Latest RIO/Avant-Prog Music Reviews


 A History of Madness   by THINKING PLAGUE album cover Studio Album, 2003
4.14 | 69 ratings

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A History of Madness
Thinking Plague RIO/Avant-Prog

Review by Warthur
Prog Reviewer

3 stars Thinking Plague's History of Madness demonstrates that a little thinking goes a long way. Often cited as being difficult, the fact is that none of the Plague's output has exactly been simple and accessible, and the avant-jazz stylings of this album don't feel like an enormous departure from past precedent. To my ears, each Thinking Plague album since the debut saw a fairly major development of their sound, but by this point they are more evolutionary than revolutionary, and this evolution takes them a little too far into the realms of complex technical execution without a distinct and strong idea behind it. Competent, but not classic.
 Frank Zappa For President by ZAPPA, FRANK album cover Boxset/Compilation, 2016
3.83 | 4 ratings

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Frank Zappa For President
Frank Zappa RIO/Avant-Prog

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

4 stars It is my opinion, now 23 years after his untimely death, that any newly released Frank Zappa music is a very good thing. But since (supposedly) all of the albums Mr. Zappa himself prepared for his family to release have been issued, there can only be a dwindling amount of fresh material to be found.

This album is a collection timed to coincide with the 2016 US Presidential election (I won't get into my personal feelings about the process here).

The collection consists of three previously unreleased (I think) Synclavier tracks, one FZ interview piece backed by some Synclavier accents, one remix/re-edit of a very classic track, and two live tracks from the '88 tour.

Let's start with the Synclavier music, as these pieces are the best reason to purchase the album. "Overture To "Uncle Sam"" is easily the most outstanding work. It's a Stravinsky tinged opus that sounds to me like it was meant to be a guitar concerto. That the synth guitar lines would probably confound nearly every guitarist on the planet is a moot point. I would love to hear what a group like Ensemble Moderne could do with this.

"Amnerica" is a Synclavier piece that I believe appeared in orchestral arrangement as "Questi Cazzi Di Piccione" on "The Yellow Shark". This one has lyrics sung by Napoleon Murphy Brock, and is quite hypnotic. Although this is nice, there is a 10 minute live version on Youtube performed by the Ensemble Moderne that is far better than either this one or the Yellow Shark version.

"Medieval Ensemble" I do not believe has been released elsewhere. It's nice, but sounds like many of FZ's Synclavier works, meaning just a little too formless for me to listen to repeatedly. "If I Was President" is FZ in an interview speaking about what he would do if he was President, with synth noises behind him, similar to what he did to the politicians bloviating on "Meets The Mothers Of Prevention".

"Brown Shoes Don't Make It" is a slightly different edit and mix of the original "Absolutely Free" version. Ears familiar with the original will hear the differences.

"Finally, there are two tracks from the '88 tour. "When The Lie's So Big" is not very different from the "Broadway The Hard way" version, and just as dated by the topical references in the lyrics, and "America The Beautiful", played gospel style, with a fantastic FZ solo.

 Wapassou by WAPASSOU album cover Studio Album, 1974
3.07 | 23 ratings

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Wapassou
Wapassou RIO/Avant-Prog

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars A fascinating debut album from a male and female member Seventies musical collective with a skewed split personality of styles and sounds, French group Wapassou would eventually become an avant-garde/chamber prog/rock-in-opposition act of note in the second half of that decade. But while there's the first emerging signs of that on their self-titled first album from 1974, the band were also experimenting with psychedelic, Krautrock, folk, raga and symphonic passages, making for an exploratory work searching musically in so many teasing little glimpses of schizophrenic directions.

Opening instrumental `Melopée' is a melancholic but wistful searing violin, flute and classical guitar folk rumination, keyboards shimmering gently with restraint in the background. The churning and senses-rattling `Rien' races in and out of a wealth of fascinating little themes in almost eleven minutes, Karin Nickerl's breathy pained vocal both reflective and weary over despondent piano, straining synths and scratchy violin responses. The piece quickly turns frantic and dangerous as electric piano and manic acoustic guitar picking grows in urgency, and pulsing electronics and mischievous droning organ brings a nightmarish mood. `Musillusion' closes the first side and is a shorter medieval-flavoured folk lament with droning choir-like vocals, Karin's slightly flat voice giving the piece an eerie despondent quality.

After a first side that was entirely devoid of drums altogether or anything except the lightest of percussive elements, the symphonic `Châtiment' maintains a nicely clipping beat (with almost an accidently modern trip-hop kick to it decades too early!) as Karin's breathy spoken-word purr drifts in and out of aching violin, dancing flute and spectral Ange-like keyboards. The almost fourteen- minute instrumental closer `Trip' sounds like nothing else on the disc (partly due to the addition of several guest musicians), with a Krautrock, raga and psych-rock flavour to the constant spacey electronic drones, lengthy jamming keyboard runs over lively drumming, hypnotic percussion and relentless snaking bass. Acid-fried electric guitar jamming simmers in the background, and sitar groans to life and builds wildly in the climax.

Oddly (and rather frustratingly, because there shouldn't be this kind of `re-writing of history'), the reissue licensed from Musea Records not only adds two instrumental recordings from a 1974 single to the front of the album (they should at least be tacked onto the end of the disc as `bonus tracks'), but it fails to even list them on the back cover. A bit of internet sleuthing reveals they are `Femmes-Fleurs', an easy to enjoy mix of plodding electronics and fuzzy distorted guitars that remind of the title-track opener of Pink Floyd's `Obscured by Clouds', and `Borgia', a throwaway but upbeat jig-like psych-lite rocker full of sprightly Hammond organ and spirited violin.

Initially confusing on first listen, `Wapassou' proves to be an unpredictable and exciting curio if you can connect with the somewhat gloomy mood of the pieces. Each track has a sparse, low-key production and is full of interesting (if not always the most skilled) playing, and there's a constant tasty roughness and natural fragility to the entire set that creates a very permeating and highly distinctive atmosphere. Don't instantly dismiss the album, let it take its time to reveal its precious secrets, and you'll likely find a welcome little unexpected gem.

Four stars.

 Künstler Scheiße by ALEX'S HAND album cover Studio Album, 2016
5.00 | 1 ratings

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Künstler Scheiße
Alex's Hand RIO/Avant-Prog

Review by raigor

— First review of this album —
5 stars

"Kunstler Scheisse", the third studio album by Alex's Hand differs from its predecessors in many ways. First off, it was recorded live and much of it came from chaotic free-noise-jazz jamming, whereas the previous albums were all recorded in a specific instrumental order.

Also, when the band overdubbed in Berlin, Kellen and Nic wrote out horn arrangements and really sat with the overdubs. The invited musicians were playing prewritten materials, whereas in the past they were let to play what they felt.

Finally, guitarist Ben Reece provided the band with a different perspective than they had in the past in regards to composing more complex melodies on top of what had already been written.

The ensemble of 12 musicians were involved in making this album. So, "Kunstler Scheisse" is far more orchestrated than other albums, a bit more refined and more complicated. Alex's Hand happens to be humorous and funny on the surface, yet incredibly intricate in terms of their compositional and arrangement ideas. Their "Kunstler Scheisse" doesn't really fit here or there, its subgenre classifications fall short. And why does it matter anyway? Just listen to the music...

 Awo by UKANDANZ album cover Studio Album, 2016
3.95 | 3 ratings

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Awo
uKanDanZ RIO/Avant-Prog

Review by Nogbad_The_Bad
Special Collaborator RIO/Avant/Zeuhl Team

4 stars Ukandanz burst onto the Avant scene in 2012 with their debut of Ethiopian / French Crunchy Avant though much of the music on the album was fresh takes on popular Ethiopian music. Their new album is mainly original compositions and benefits significantly from playing to the bands strengths. Asnake Gebreyes is an extremely strong Ethiopian vocalist who's high energy vocal gymnastics are a major feature of the band. The instrumental members of the band come from the vibrant Lyon scene that seems to produce so many excellent bands, Benoît Lecomte (bass) is a member of ni, & Guilhem Meier (drums) is in PoiL. As you would expect from that background the music is extremely frenetic, energetic and rapid moving. The combination of vocals and high energy band works really well and this is a good step forward for the band. They played the Rock In Opposition festival in recent years and went down extremely well. Recommended.
 Pestrottedans by PANZERPAPPA album cover Studio Album, 2016
3.93 | 11 ratings

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Pestrottedans
Panzerpappa RIO/Avant-Prog

Review by Nogbad_The_Bad
Special Collaborator RIO/Avant/Zeuhl Team

4 stars The Norwegian Avant Jazzers are back after a 4 year gap from their excellent Astromalist. This time they've moved to Altrock from Rune Grammofon but are again mastered by the excellent Udi Koomran. Another Altrock regular Elaine DeFalco guests on accordion on one track. Maybe because of their jazz avant leanings they make a point of mentioning that no-one plays brass. As usual this is a very tight instrumental album. They have moved away from some of the edginess that featured in Koralrevens Klagesang and brought them Canterbury and Samla comparisons. There are probably now more nods to Miriodor. While this may disappoint some fans personally I find the continued growth and depth of their work a benefit to their sound. It's still got a very multilayered engaging sound with many moves and twist. It's a really nice modern avant jazz , beautifully balanced, album.
 Death By Water by YUGEN album cover Studio Album, 2016
4.07 | 65 ratings

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Death By Water
Yugen RIO/Avant-Prog

Review by Nogbad_The_Bad
Special Collaborator RIO/Avant/Zeuhl Team

5 stars Yugen's return in 2016 is very welcome given the extended gap from their outstanding masterpiece Iridule from 2010. I had worries that Francesco Zago's baby was on permanent hiatus given the large number of side projects he has been working on over the intervening years, Zauss, Not A Good Sign, & Spaltklang. As with previous efforts this is not an album for the faint hearted. Some of the music is extremely angular & dissonant with turn on a dime acrobatics while focusing on instrument interplay rather than individual melodies. There are also many more relaxed serene tracks that more heavily rely on Paolo Botta's keyboards. The balance between this dark heavy angular music and the more traditional Italian keyboard lead beauty can be quit jarring but that is part of the dynamic energy of the album. Extremely good
 Vol. 333 by INFONIE, L' album cover Studio Album, 1972
3.98 | 6 ratings

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Vol. 333
L' Infonie RIO/Avant-Prog

Review by DamoXt7942
Forum & Site Admin Group RIO/Avant/Zeuhl & Neo Teams

5 stars Mysteriously this album should be much more polished than it sounds, and at the same time the musical unification in the whole album should be perfectly disrupted with a strong intention. What an awesomeness. This creation lighted with a small electric bulb "Vol. 333" by a Québécois avantgarde rock combo L'INFONIE is, honest to say, one of my favourite albums all over the rock world, in which I've got immersed over and over until now. Sounds like they had played comfortably under the clear blue sky, introducing a variety of musical elements.There is no laziness nor seriousness around them but fantastic atmosphere based upon such a strict ensemble produced with their incredible technique.

From the beginning ... the starter "Paix Prélude" enough advocates their colourful diversity. The first distorted sound explosion is so powerful enough to knock us out, and their improvisation-oriented sound presentation would get delightfully harmonized as the song makes progress toward the Paix Sections. "Paix Section 1-17" can be called also as a one-man theatre by the vocalist Raôul. His percussive, precisely rhythmical voices is too splendid and too creative to be mimicked by anyone. And all of the rock commune support him upon their brilliant instrumental arms. This is exactly a cooperation in the L'Infornation. On the other hand, a sudden explosive shout by Raôul in the beginning of "Section 19" reminds us of old-fashioned funk. What did they think on the play? Another one-man stage, very interesting, impressive.

A great mass of classical essence, incorporated into this project of theirs, gets mixed, merged into avantgarde environment naturally but deliberately. "Ode To Joy (via in the final movement of Beethoven's Ninth Symphony)" is featured in the middle part of "Section 33-50" or Ravel's "Boléro" in "Section 1-17". Could say so effectively I guess. "Concerto En Ré Mineur" Allegro and Adagio are completely classical concertos featuring brilliant piano play and a chamber ensemble. The last "La Tounne Platte" is such a free jazz, flooded with sound extremity launched by the whole rock commune, and can be mentioned as one of the symbolic tracks in this double album.

I'm sure there are pros and cons upon their soundscape (sounds a tad eccentric, purposeless or less strategical I'm afraid) but why cannot we call this their originality? This creation should be the one that appears L'INFONIE's decent attitude for music itself.

 No 6 by PRESENT album cover Studio Album, 1999
4.44 | 60 ratings

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No 6
Present RIO/Avant-Prog

Review by Warthur
Prog Reviewer

5 stars Present offer up the first fruits from their legendary 1999 sessions in Israel (the remainder of which formed the nucleus of High Infidelity) on No. 6, which offers a furiously energetic take on the Present-Univers Zero style of spooky RIO. Previously, the most frenetic example of this house style I could point to would probably have been the opening track on Univers Zero's Ceux du Dehors, but Roger Trigaux and company make that cut seem positively tepid with the furious playing they offer up here. A major artistic breakthrough, with Present finally coming into its own distinctive identity and definitively emerging from the shadow of Univers Zero.
 Enigmarden by ROZ VITALIS album cover Studio Album, 2005
2.75 | 13 ratings

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Enigmarden
Roz Vitalis RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

3 stars ENIGMARDEN is the fourth full-length studio album by the St Petersburg, Russian based ROZ VITALIS who has a knack for delivering highly complex albums time and time again and also continues to reinvent their sound on each album. This album's title refers to "enigmatic gardens" of mystery and despite insinuating another concept album is more truthfully a loose collection of disparate songs unlike the first three releases. On this album ROZ VITALIS takes on a more prog folk oriented type of prog electronica meets avant-prog. On this one we get the usual highly complex and erratic musical developments but there are also lots of wind instruments on board. We hear the recorders of Klara Metel'kova who would leave the band the following year and the clarinet contributions of Yuri Verba who also contributed on "Compassionizer" but sadly passed away in 2007. This is also the very last ROZ VITALIS album to feature any vocals whatsoever. Starting on the next album, the band would become totally instrumental but this album is more instrumental than not.

The use of recorders on this one brings visions of high Andean tribes in Peru or Chile offering a glimpse of the high heavens around Machu Picchu and subtly of South American progsters such as Los Jaivas at times, but the highly complex avant approach that dominates always brings the listener back to a unique and utterly bizarre sonic garden where classical and jazz influences always lurk one measure away. In a way, the wind instruments with the chimes makes me thing of European conquistadors in the New World at the time of the great fall of traditional cultures. Much of the content on ENIGMARDEN is actually based in intuitive improvisations. The tracks "Ah Ty, Nochenka", "Heartcrying", "Gentle Spring of Spring" and "Precautionary Motive" were recorded in real time and stand exactly as they emerged upon the first recordings. While there are many world ethnic musical sounds heard on this, when the female vocals appear they convey a high vocal register operatic feel to the album and this is particularly true when the polyphonic organ runs create a classical European feel.

This is another great release from ROZ VITALIS but i have to say that it is less captivating than the previous and following albums for the most part. While i really like the folk aspects, i simply don't find this music to be as intrinsically well designed as the previous offerings. Yes, there are lots of organ offerings, lots of time sig changes, lots of classical leaning workouts that are somewhere between church music and funeral precessions and bring a healthy dose of melancholy. I simply opine that music this complex needs some sort of cohesive glue to bring the whole thing together. Being that the tracks are totally divorced from any sort of continuity, it all feels like a drunken roller coaster ride with everything just feeling like a random parade of sounds that don't ever deliver any sort of pay off. Perhaps it's the low budget production that limits the variations in timbre and instrumentation. While this may have worked for the previous albums where there was a unifying feel to the whole shebang, here something is missing. While the individual tracks are noteworthy of being brilliantly composed although not as captivating, i just find this release lackluster in comparison. Not bad by any means but my least favorite release by ROZ VITALIS thus far.

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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
AKINETÓN RETARD Chile
AKSAK MABOUL Belgium
ALAMAAILMAN VASARAT Finland
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
BABLICON United States
BANDA ELÁSTICA Mexico
ARRIGO BARNABÉ 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 BITTOVÁ Czech Republic
BLACK ENGINE Italy
MICHEL BLANC France
BLAST Netherlands
BLITURI Canada
THE BLITZOIDS United States
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
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
CHROMB! France
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
FACEMEAT Australia
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
FOTGJENGEREN United States
THE FRACTURED DIMENSION United States
LES FRAGMENTS DE LA NUIT France
FRENCH TV United States
FRESH! Japan
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
GUARDIAN ALIEN United States
GUNJOGACRAYON Japan
GUTBUCKET United States
GUTURA France
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