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RIO/AVANT-PROG

A Progressive Rock Sub-genre


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RIO/Avant-Prog definition

Avant-Prog

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

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

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

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


Rock In Opposition

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

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

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

The five initial Rock in Opposition bands were:

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

Three additional bands were later officially elected to the movement:

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

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

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

Dates of the original RIO festivals

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

Useful links

Information on RIO from Chris Cutler's website

Additional historical information on Squidco

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

Current team members:
as at 20/05/2016

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

RIO/Avant-Prog Top Albums


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

4.34 | 1480 ratings
HOT RATS
Zappa, Frank
4.32 | 872 ratings
THE GRAND WAZOO
Zappa, Frank
4.32 | 860 ratings
THE MOTHERS OF INVENTION: ONE SIZE FITS ALL
Zappa, Frank
4.33 | 226 ratings
WESTERN CULTURE
Henry Cow
4.34 | 169 ratings
IN EXTREMIS
Thinking Plague
4.46 | 65 ratings
H─XAN
Art Zoyd
4.50 | 53 ratings
TAIGA
OOIOO
4.29 | 274 ratings
HERESIE
Univers Zero
4.28 | 279 ratings
SING TO GOD
Cardiacs
4.27 | 307 ratings
UZED
Univers Zero
4.38 | 79 ratings
N║ 6
Present
4.59 | 34 ratings
JACKSON
Korekyojinn
4.24 | 364 ratings
CHOIRS OF THE EYE
Kayo Dot
4.26 | 270 ratings
M┼LTID
Samla Mammas Manna
4.49 | 43 ratings
LETTERS HOME
News From Babel
4.35 | 79 ratings
DECEIT
This Heat
4.35 | 75 ratings
BOOK M
Secret Chiefs 3
4.30 | 108 ratings
ON LAND AND IN THE SEA
Cardiacs
4.24 | 237 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.41 | 52 ratings
SIRENS AND SILENCES / WORK RESUMED ON THE TOWER
News From Babel

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

LETTERS HOME
News From Babel
SHINUTOKIWA BETSU
Wha-Ha-Ha
KILLED BY CHARITY
X-Legged Sally
THE VIOLENCE OF AMATEURS
French TV

Latest RIO/Avant-Prog Music Reviews


 Точное время / Precise Time by HAPPY 55 album cover Singles/EPs/Fan Club/Promo, 2018
4.02 | 3 ratings

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Точное время / Precise Time
Happy 55 RIO/Avant-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

4 stars I still don't know why Happy55 didn't put more tracks on their 2016 release, 'Warm Things', which just wasn't long enough in my mind. But, after three albums, the band decided to release an EP which contains three more numbers from the 2016 St. Petersburg session. This sounds a little more produced, especially on the second song, 'All Green', which commences with spoken voices layered over the top of each other (in Russian), before the piano kicks in. There is an incredible clarity of thought, with ideas bouncing around and being responded to by all four involved. Again, themes are repeated, expanded upon, twisted and changed as each of the quartet strive to take the song to the next level.

In some ways this has the feeling of free jazz in the way they are reacting, but the music is much tighter with complexity being taken as a given, yet everyone keep[ing up with each other. This really does feel to me like King Crimson being twisted and pulled and amended into a piano led force of nature. I only discovered the band because they contacted me through ProgArchives, and I am so very glad they did, as this is yet another stunning artist I am going to keep my eye on. For all fans of progressive music that is attempting to push boundaries, yet are exciting and incredibly enjoyable all at the same time.

 Warm things by HAPPY 55 album cover Studio Album, 2016
4.00 | 1 ratings

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Warm things
Happy 55 RIO/Avant-Prog

Review by kev rowland
Special Collaborator Crossover Prog Team

— First review of this album —
4 stars Happy55 is a Russian group formed in Voronezh in 2007 by pianist and composer Yaroslav Borisov and drummer Alexander Bityutskih, with the line-up completed by Nikita Bondarenko (electronics) and Gennady Chukhlov (clarinet). They describe their music as chamber electronic and acoustic avant-garde, and consider their major influences to be Sergei Prokofiev, Igor Stravinsky, Charles Ives, Trilok Gurtu, King Crimson, Can, Autechre and Herbie Nichols, so one can already feel what the band sounds like.

This album is taken from the first part of a session which took place in St. Petersburg in 2016, and has been released on the French- English label Bruce's Fingers. It is based strongly on Borisov's piano, which can be delicate and easy to listen to, or just striking some discordance which makes the listener a little uneasy. Also, the gentleness can also give way to some harsh and rough staccato attacks. The rest of the band may be making their presence felt by not playing at all, adding to the melody, or playing at odds, but always somehow maintaining an affinity to the main approach. It really does sound as if Can, Art Zoyd and King Crimson have sat down and had a discussion, and then come up with a piano-led approach instead of guitar, also adding some industrial noise elements into it, which can take it in different directions. The use of a clarinet provides warmth to what is sometimes quite a bleak approach. I only wish that they had included more of the session, as at just 28 minutes long these four songs really whet the appetite for more. Avant prog/RIO aficionados need look no further, and I know I've said it before but there is great music coming out of Russia that really needs further investigation.

 The Grand Wazoo by ZAPPA, FRANK album cover Studio Album, 1972
4.32 | 872 ratings

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The Grand Wazoo
Frank Zappa RIO/Avant-Prog

Review by WFV

5 stars As with Hot Rats, Caravanserai, and Blow by Blow, this classic is fitting of the title "best jazz album by a musician not best known for playing Jazz" The pacing is terrific, the instumentation sublime, the overall groovy feel really resonates with the listener. All of the instruments combine to sound like the tightest outfit that ever toured and recorded during the dawn of FM radio. I'd rate each of these songs as highlight, and every person remotely interested in Frank Zappa needs to listen to this one several times. The riff for Eat the Question is probably my favorite riff from what I would call the "riffrock" period

Frank had such a unique ability to spill his thoughts into sounds

 Chunga's Revenge by ZAPPA, FRANK album cover Studio Album, 1970
3.40 | 326 ratings

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Chunga's Revenge
Frank Zappa RIO/Avant-Prog

Review by WFV

3 stars I find the material on here to be very weak compared to Zappa's other albums of the period. Rudy Wants to Buy Yez a Drink and Road Ladies and Would You Go All the Way sound like novelty filler. Transylvania Boogie is Good, Chunga's Revenge is great, and The Nancy and Mary Muzik and Sharleena are two of my favorite Frank tunes of all time. My opinion is that George Duke solidified his status as the greatest Zappa sideman with his contribution to the Nancy and Mary Muzik.

It's a good record, but not up to the lofty creative standards set by previous recordings. An uneven listen for me, almost a novelty with the addition of Flo and Eddie.

 Big Leg Emma by ZAPPA, FRANK album cover Singles/EPs/Fan Club/Promo, 1967
3.68 | 10 ratings

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Big Leg Emma
Frank Zappa RIO/Avant-Prog

Review by WFV

5 stars Two of my favourite back to back early Zappa tunes, these songs showcase the pop songwriting panache Frank could so effortlessly oooze. Big Leg Emma is a catchy sophomoric pop tune and Why Doncha Do Me Right is a heavy rock cruncher, one of the best in his catalogue. These songs are essential building blocks in the Zappa works that every fan needs to hear to understand his developing visoin. I like to think Why Doncha Do Me Right is about his first wife, Kay Sherman, but I've never found evidence to support this theory. This is Zappa your kids can instantly like.
 Waka / Jawaka by ZAPPA, FRANK album cover Studio Album, 1972
3.91 | 463 ratings

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Waka / Jawaka
Frank Zappa RIO/Avant-Prog

Review by SonomaComa1999

3 stars REVIEW #13 - "Waka/Jawaka" by Frank Zappa (1972). 08/03/2018

I was pleasantly surprised to see that the next random album I would be reviewing would be a Zappa album. As of writing, I have already reviewed two of his albums, "Roxy and Elsewhere" and "Apostrophe", both of which were released in the year 1974. Today I will review an earlier album of his, 1972's "Waka/Jawaka", which is considered to be the natural successor to Zappa's 1969 jazz fusion masterpiece "Hot Rats".

On December 10, 1971 at London's Rainbow Theatre, Zappa was attacked by a crazed fan. The venue, which featured an orchestra pit, was left uncovered for the concert, and during an encore cover of the Beatles' "I Wanna Hold Your Hand", a man named Trevor Charles Howell jumped on stage and pushed Zappa into the pit. This came shortly after the band's concert in Montreux was cut short when another fan set the venue on fire with a flare gun, which inspired the Deep Purple hit "Smoke on the Water." Zappa was seriously injured, as his fall into the pit crushed his larynx and resulted in his head being lodged behind his shoulders. The band thought Zappa had died, and while he survived, he had not only fractured his leg, he also broke a rib and had a puncture in the back of his head. For the next year, he was relegated to a wheelchair, unable to tour. 1972's "Waka/Jawaka" marks the first studio album Zappa would release following this hiatus, and it seems that in the meantime that he wanted to move away from his trademark avant-prog style in favor of jazz fusion. The sound of this album is very similar to that of jazz fusion staples like the Mahavishnu Orchestra or Bitches Brew, with a healthy dose of improvisational jazz.

The album starts off with arguably the jazziest tune on the album, that being the seventeen-minute sidelong epic "Big Swifty". This is a really abstract piece of music, rife with improvisation which allows for the members of Zappa's bands to show off their musical talents. Opening up fast, we hear blaring horns playing in a very irregular and rapidly changing cacophony of noise that varies in terms of outright power and depth. This immediately strikes me as some sort of abstract cool house jazz, as if Zappa was channeling the works of Miles Davis while keeping the structure strictly progressive and avant-garde. Sal Marquez plays the trumpet on this album, and he is given the ability to go wild at the forefront of the band, keeping us on edge with a brassy sound that is strictly jazz. Zappa is credited with percussion on this piece, and his guitar work is not immediately evident like we're usually accustomed to. On "Hot Rats", Zappa's presence was strongly felt, especially on the seminal "Willie the Pimp" where he provided one of the greatest guitar solos to ever grace the genre. However, he takes more of a director's role on this album; on "Swifty" we hear some intermittent guitars but the soundscape is largely dominated by Marquez's brass. The first thirteen minutes of this leviathan is this brand of improvisational jazz, and it isn't very accessible. It took me a few listens to actually be able to focus on what is really going on; the great thing about "Hot Rats" or this album's successor "the Grand Wazoo" is that the music is so accessible that you can immediately hook onto it; "Waka/Jawaka" rather immediately presents itself as a tough code to crack, where the band decides to take on virtuosity rather than accessibility. The end result is a piece which only the most ardent of Zappa fans and jazz fusion addicts will appreciate; I have seen numerous reviews painting this tune as the best the album has to offer - I respectfully disagree, for while it may show off impeccable musical talent, we already KNOW that Zappa & Co. is a talented band. What I am looking for at this point is a piece of music which resonates, and frankly "Swifty" fails to deliver in that regard. There is a general lack of structure and direction that comes with improv which turns me off for the most part.

On the flip side, we begin with a pretty generic Zappa avant-prog tune in "Your Mouth", where vocals are split between Marquez and Kris Peterson. Set to the backdrop of a pretty bass-heavy jazz background, we get intermittent motifs from the last song amidst the humorous tongue-in-cheek Zappa lyricism. Overall, it comes off as the weakest tune from the album, and it is rather easy to forget. Fortunately it only comes in at something like three minutes, so we pass over it pretty quick. It is followed up by the similarly short "It Might Just Be A One-Shot Deal", which I like a lot more. While it is admittedly abstract and sub-par compared to other Zappa works of the same style, there are some interesting quirks to this tune. First of all, we get a little uncredited hint of Zappa's "new" voice during an impromptu odd interlude. Following Zappa's accident, after his larynx was repaired his voice had gotten artificially lower compared to what it was early in his career. While this is the only vocal appearance for Zappa on the album, we would eventually grow accustomed to the deep voice which would become best associated with the legendary guitarist. Another interesting quirk about this song is the extended hawaiian guitar solo by Jeff Simmons, which provides a very comfortable feeling. Zappa makes a rare appearance on steel acoustic guitar in the very distant background; similar to Crimson guitarist Robert Fripp, Zappa has very little recorded instances where he plays unplugged, and even then, he is not an upfront virtuoso with it like a Steve Howe. Otherwise, there really isn't much else to this song except the fact it's probably my favorite tune off the album with its summer nostalgic qualities and such.

Finally, we reach the closing title track which is an eleven-minute instrumental which is generally more organized and focused than "Swifty". In fact, the band seems to move between solo performances on this piece, which really helped me keep track of what the band was doing. As a result, I look more favorably upon this track than its slightly bigger brother. We start off with the brass section doing their work; Marquez, saxophonist Mike Altschul, and the trombonists Billy Byers and Ken Shroyer get us started, before the baton is passed to keyboardist Don Preston, who performs a very solid and comfy moog synth solo which really sets the mood of the track. This continues on for a couple very satisfying minutes where he is allowed to run wild over the soundscape of some wild drums and steel guitar. This is them seamlessly transferred to Zappa, who does another low-key guitar solo to keep the flow going on what is turning out to be a rather infectious instrumental tune. For the first time on the album we sort of see Zappa unleash the dogs of war on his guitar, but even then, it really comes nowhere near many of his other works. I would consider the biggest issue with this album is that it simply doesn't have enough Zappa. We get a brief blast of the horns before we enter the album's lone drum solo - it is at this moment that I must commend drummer Aynsley Dunbar, who does an impeccable job on this album. He is kind of tucked off in the back right corner of my earphones, but his heavy style of drumming perfectly complements the style of music Zappa is putting forth on this album. The Rock and Roll Hall of Famer (Journey lol) absolutely kills the drum solo, with the sound of drums boosted to shake the listener as the rest of the band enters the much-awaited coda. The horns reprise the motif of Preston's moog solo, before giving way to Marquez and the brass as the tempo increases to indicate the impending conclusion of the album in a rather solid fashion. As a man who is not as keen on instrumentals as other prog fans, I will admit this is a solid work of music where Zappa allows every single dimension of his band to shine, and in a reasonable way to end the album.

"Waka/Jawaka" despite having its moments, is always going to be relegated to the vast back-catalog of Frank Zappa, which is similar in size to that of Alaska compared to other prog contemporaries. While this was a satisfying return album by the guitarist, and an appreciated return to the jazz fusion style of "Hot Rats", I really can't define this album as more than average. Seriously, there are no downfalls to this album, yet there are no added bonuses that would make me want to listen to it without having to do a review. I would much rather listen to "Hot Rats" or "The Grand Wazoo" to get my dose of Zappa jazz fusion, and in the end that really hampers this album given it's positioned right in between two masterpieces. I would definitely recommend this album to any fan of jazz fusion, and those who particularly like Zappa's works in the subgenre. That being said, I give it a strongly average three-star (75% - C) rating, which is as average as you can get by my rating standards. Still not a bad listen.

 Animal Lover by RESIDENTS, THE album cover Studio Album, 2005
3.81 | 30 ratings

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Animal Lover
The Residents RIO/Avant-Prog

Review by TCat
Prog Reviewer

4 stars At this point, The Residents have moved past their MIDI stage. There are still a lot of synths being used, but now they have brought back in guitar parts, albeit processed. But they have ventured into other sounds as well. The music is sounding much better and there is a lot more depth now, and a lot more experimentation. They also have been using other vocalists now, especially Molly Harvey, who is often used as characterization for female characters in the songs. They have also matured somewhat into more intelligent concepts, though they still deal with the very dark side of the human condition.

This time around, the album looks at the relationship between humans and animals. The booklet that comes with this album is a very important part of the entire experience, in that each song has an introduction as narrated by an animal, or the way an animal would try to explain each situation. The songs themselves are usually sung from the viewpoint of the human though. As usual, with the Residents, you get into some very dark and disgusting human habits, and, also as usual, this album is not for the faint of heart, stomach, or ear. But, it's interesting to see these bizarre human actions through the eyes of an animal, or at least, the way The Residents think an animal would think.

Even though that is the concept, not all songs follow that pattern. 'Two Lips' for example is about the Tulip Mania financial crisis in the Netherlands in 1637. The songs are more progressive here now, as if The Residents have finally found a genre that explains their music, this is no doubt Avant-Garde Prog, and they embrace it completely now. The music is strange, and as was the case with 'Wormwood', one of their best later albums, very dark, dramatic and almost performed as a short stage musical. This is more the feeling of their concerts as they are truly stage shows.

There are a lot more female led vocals on this album, thank goodness. That means you don't have to hear the designated Resident sing. But when he does, it's usually very processed, so it adds to the characterization of the song. There are also choirs, or at least group singing and even children's choirs as in 'What Have My Chickens Done Now?' There are also some instrumentals that separate the sections of the album. The song 'Inner Space' is actually a song that can generate emotions in the listener, as it is a very beautifully sung with emotional lyrics. A huge surprise from the Residents. 'Elmer's Song' is almost spiritual sounding with a plucked string instrument.

No doubt that this is one of the best Residents albums. It is good to hear them take the actual composition of their music seriously, even though the lyrics can be quite demented at times. But at least, the music matches the feeling of the songs more than previously. However, be warned, that this is a very morose album, depressing, scary and dark. It still is not music for everyone, but it might be a good point for the curious to enter into their huge, but demented discography.

The use of more instruments, the orchestration, the addition of other vocalists and choirs add to the variety. Even though this is worlds better than the late 80s and early 90s output, it's still hard to give it 5 stars. It's not always the easiest stuff to listen to, not from complexity, but from subject matter. And doggone it, I wish there could be something a little more upbeat added in there. This probably would have gotten 5 stars if it wasn't so depressing. I am excited to hear some actual emotion put into their lyrics, singing and orchestration. That is a huge plus. Residents fans should love this album, new fans could also be generated from this album, but only those that can keep an open mind. The Residents music is usually a study of the depravity of human beings and that can be really hard to listen to for a long length of time, it does tend to wear on a person after awhile.

 Dromology by INNER EAR BRIGADE album cover Studio Album, 2016
3.61 | 13 ratings

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Dromology
Inner Ear Brigade RIO/Avant-Prog

Review by b_olariu
Prog Reviewer

3 stars 3.5 stars for sure

Second offer Dromology released in 2017, is a natural follow up to excellent Rainbro. Inner Ear Brigade really done it with the debut and this second album is quite as good as previous one. The attitude remaining the same , avant prog with jazzy interplays the perfect example is the excellent opening Dark Sleep Fortress, and the pieces flow perfectly. Nice female vocals made by Melody Ferris with tenacious sax playing combined with groovy guitar parts and great mellotron arrangements in the mix. So, all around this is fairly good towards great release, I kinda like the debut more, but this desearves attention aswell. Intresting art work for sure and all package , 3.5 stars for this one, I think will be ranked among the most intresting albums of the avant prog scene in last couple of years.

 Wormed By Leonard by THINKING FELLERS UNION LOCAL 282 album cover Studio Album, 1988
3.91 | 2 ratings

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Wormed By Leonard
Thinking Fellers Union Local 282 RIO/Avant-Prog

Review by Mortte

4 stars I believe progarchives is the only place that calls Thinking Fellers RIO/Avant-prog, although I think it's probably the only category it fits here. Mostly this great band is called Indie Rock, but it's really far away from for example Nirvana or Soundgarden just because bands really experimental nature. Comparing it to Sonic Youth is not unfair, although Thinking Fellers has much more rhythmic complexity than SY. Anyway band has been quite unknown specially in the North-Europe, although it made tours in the Middle Europe in the mid nineties. When looking ratings here, this band also seems to be quite unknown also with proglisteners. I am really glad my US- friend recommended band to me some years ago.

It's really odd they released this first album in a cassette-only by themselves in a time, when there was still independent companies like SST. Also it's odd Matador didn't release this as an album later, when they become at least popular in US indie music listeners, instead the band released it again as 2LP and CD adding there bonus material. Anyway it's really great they did it, the band was really great already in the beginning! There are not studio information about this album, but I think sounds are quite great in this, also this album hasn't got as much lo-fi stuff as some their later albums.

When there are many tracks, I review album as the 2LP version on each sides. First side mostly includes Beefheart-style stuff with punk attitude. Beautiful exception of this is 'Hell Rules', although it's name it's made with two guitars and bass and some really interesting percussion and has just very beautiful melodic singing. Second side continuing quite the same style, but there are also three very great country-punk songs that reminds a lot Meat Puppets -stuff. Specially instrumental 'Out In the Kitchen' is just great, reminding some Link Wray old stuff. Third side is the most experimental side. Many tracks are instrumental, but there is also really great vocal track 'Get Off My House' that reminds little bit Zappa's Uncle Meat -time music. Last side is bonus side and the most confusing in this album. Songs are recorded between 1986-1989. When I first time heard their 'doom'-version from the Carpenters 'Superstar', I didn't know what to think. On my last listening it worked some very weird way.

Although the mess in last side could put this album into three stars, the original entity is just so great that I have to give this four. This is highly recommended all the Beefheart fans that has nothing against punk aesthetic. I hope this band (and also it's soul mate Trumans Water) will not go into oblivion. This album is quite good starter, if this review woke your interest, but of course it hasn't got yet the full greatness of their masterpiece 'Strangers From the Universe'.

 Wormwood:  Curious Stories From the Bible by RESIDENTS, THE album cover Studio Album, 1998
3.76 | 32 ratings

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Wormwood: Curious Stories From the Bible
The Residents RIO/Avant-Prog

Review by TCat
Prog Reviewer

4 stars Released by The Residents during their MIDI years, this one is another strange one, but with a very interesting concept. They decide to explore 18 of some of the strangest Bible stories in the big black book. These are the stories that you didn't hear about in Sunday School, or in any religious school for that manner. They don't try to expand on them, they instead bring them to life in song, singing in first person. It's best to follow along with lyrics so that you understand them best.

The tracks are interesting, and there is some variety here even though the music is all computerized or electronic. The vocal duties are shared with the usual Residents' vocalist and other guest vocalists to give the music the feeling of characterization. This makes perfect sense to bring meaning to the songs. The concept is intriguing and the topics of the songs are controversial considering the source material, but they are topics that Christians like to ignore, or pass by quickly when reading the Bible. In my opinion, we would understand a lot more if we really understood the meaning of these strange events. Since the music itself sounds quite similar throughout, I want to concentrate on the song topics, because that is what makes this album so great and interesting. I will mention a few things about the music as it stands out in the tracks too.

The first track 'In the Beginning' is more of an instrumental introduction, though listening to it, I don't really understand what other function it serves other than a prelude to the entire craziness and I'm sure in their shows, they use it quite effectively. 'Firefall' is the story of Lot, but not just the pillar of salt story. No, that would be too normal. This is the story of how Lot invites two angels into his home and how the townspeople find out about it and pester Lot to let them rape the angels. Lot instead offers up his daughters to appease the crowd. God rains fire from the sky and Lot and his family escape and, well you know what happens to his wife next.

'They are the Meat' is about Ezekiel's violent visions. The vocal melody is very repetitive, but the instrumental part is interesting enough. 'Melancholy Clumps' is about Noah building the ark and how it will be 'the home of melancholy clumps of bone'. Interesting choice of words. Treated vocals and other strange sounds. 'How to Get a Head' is about Salome dancing in order to get anything she wishes and requests John the Baptists head. This is sung by a female vocalist and is quite morbid, but sounds kind of cheery what with snapping fingers going along with the beat. The organ at the end gives it the church-y but scary sound. 'Cain and Abel' is of course a descriptive account of how Cain felt after murdering his brother. This one is slow and pensive.

'Mr. Misery' is about Job who as most know was the poor, tortured man that God gave the Devil free reign to agonize. The tune is a bit upbeat for such a poor man. I guess this reflect his attitude to always be righteous no matter what happened to him. 'Tent Peg in the Temple' is about a woman who took in a poor man who was her enemy in battle, he was just trying to find some dry clothes, he ended up in her bed and she killed him with a tent peg driven through his temple. Ouch. This one is also a female vocalist. 'God's Magic Finger' is about the King of Babylon asking David to interpret a message written on his wall by a floating hand. The message said that the king's days were numbered. This one is a little annoying because the chorus is repeated too many times.

'Spilling the Seed' is about Onan who was supposed to marry his brother's widow. He was to impregnate her but instead pulls out, and because he disobeyed God, he was struck dead. This one is a simple melody with a catchy rhythm until the sad ending. 'Dinah and the Unclean Skin' is a disgusting Biblical story about how, after the rape of Dinah, an agreement is made between two warring sides that all the men of a village should be circumcised and while they were in bed recovering, they were killed by their opponents. 'Bathsheba Bathes' is about David being tempted by watching Bathsheba bathe on the roof (the pervert) and how his jealousy influences him to send her husband to the front line of the army where he is killed. The song is sparse with chime like sounds. The voice singing David's part is the typical Resident's vocal but is mostly subdued almost a whisper, but the narrator is a strange obscure voice that has been treated.

'Bridegroom of Blood' is a very strange account of Moses and his wife. She circumcises her baby son wipes the blood on Moses' feet calling him her bridegroom of blood. If this is disturbing, remember it's right from the bible and the references are in the program notes for each of these stories. A loop of a crying child only makes this one more chilling. Vocals are shared between female and male vocalists as represented by the characters. This one is very graphic and disturbing to say the least. 'Hanging By His Hair' is about David's son who during a rebellion against his father gets his hair stuck in a tree. He is then killed by David's general. This one is more dramatic as far as the music goes and utilizes dynamics better than most of the songs on this album.

'Seven Ugly Cows' is about a dream interpreted by Joseph about 7 years of plenty followed by 7 years of famine. This is another sparse song. 'Burn Baby Burn' is the story about sacrificing a family member that doesn't end as well as the Abraham/Isaac story. Jephthah returns from war with the oath that he would sacrifice whatever came out to greet him first, he thought it would be an animal, but it is his daughter, whom he promptly sacrifices. This one has a reggae feel to it, of course all done with MIDI. 'KILL HIM' is about the test of Abraham and Isaac as mentioned just before, but it details animal sacrifices as per instructions in the scriptures. This one is sung as if Abraham is mentally disturbed. 'I Hate Heaven' is based on The Song of Solomon as from the lover's point of view. This music sounds almost like it was inspired by early 60s rock n roll girl groups. The last story is 'Judas Saves' as Judas contemplates his role in salvation because it is necessary for him to betray Christ in order for him to die for mankind's sins. 'Now it is so clear/He must appear/To be betrayed/So we can be saved'. Interesting concept. The last track is the outro instrumental called 'Revelation'. Again, this is added for purposes of the shows that were given to promote this material.

Overall, there are places where things can get kind of stale because of the sameness of the instrumental. Since this album was produced during the time when The Resident's relied way too much on MIDI programming, they do get that quality. Where this album excels in The Resident's huge discography is in the orchestration (even though if it were orchestrated with real instruments would have been much much better), and the concept. This album, because of those things, is a very strong album. It is not for everyone, especially those that are offended easily or with weak stomachs, but it is true that all of this is in The Bible. The Resident's, being the type of eyeballs that they are, thought this was perfect material for them, and it was probably the best they would do during this period of their recording history. This album definitely deserves a 4 star rating for the concept and orchestration and not for the presentation of the orchestration itself. That's why it is 4 stars and not 5.

Now I have to cut this review short at this point as the lightning outside is getting really close....I'm not joking.

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RIO/Avant-Prog bands/artists list

Bands/Artists Country
1870 (MIL OCHOCIENTOS SETENTA) Mexico
3 MICE Multi-National
5UU'S United States
THE A BAND United Kingdom
A-MUSIK Japan
A.P.A.T.T. United Kingdom
ABSOLUTE ZERO United States
AFENGINN Denmark
AFTER DINNER Japan
AFUCHE United States
AHLEUCHATISTAS United States
AHVAK Israel
AKINETËN RETARD Chile
AKSAK MABOUL Belgium
ALAMAAILMAN VASARAT Finland
ALBOTH! Switzerland
ALEX'S HAND United States
ALFIE RYNER France
ALTERED STATES Japan
AMOEBIC EMSEMBLE United States
ANATROFOBIA Italy
ANDREW MOORE'S CHAMBER WORKS United States
APPENDIX Slovakia
ARANIS Belgium
ARBETE OCH FRITID Sweden
THE ARCHESTRA Belarus
ARKTIS/AIR Austria
ARMON KUILU Finland
ART BEARS United Kingdom
ART FLEURY Italy
ART MOULU France
ART ZOYD France
THE ARTAUD BEATS United Kingdom
ARTERIA Mexico
ATHANOR France
ATOMIC APE United States
AUKTYON Russia
BABLICON United States
BANDA EL┴STICA Mexico
ARRIGO BARNAB╔ Brazil
BARNACLED United States
BARRICADE France
LES BATTERIES France
BBP UNDERGROUND ORCHESTRA Czech Republic
BEGNAGRAD Yugoslavia
BOB BELL Canada
BEN LEVIN GROUP United States
BIG BLOCK 454 United Kingdom
BIG FARM United States
BIRDSONGS OF THE MESOZOIC United States
BISE DE BUSE France
IVA BITTOV┴ Czech Republic
BLACK ENGINE Italy
MICHEL BLANC France
BLAST Netherlands
BLITURI Canada
THE BLITZOIDS United States
THE BLUE SHIP United Kingdom
BONE Multi-National
THE BOOK OF KNOTS United States
BOREDOMS Japan
BOSNNIA Argentina
BOX Multi-National
FRANăOIS BREANT France
MARKO BRECELJ Yugoslavia
BREZNEV FUN CLUB Italy
BRIAN! United States
BROKEN.HEART.COLLECTOR Austria
HASSE BRUNIUSSON Sweden
BUILD United States
BULDOZER Yugoslavia
BZ BZ UEU Italy
CALOMITO Italy
THE CAMBERWELL NOW United Kingdom
CAPILLARY ACTION United States
CAPTAIN BEEFHEART United States
CARDBOARD AMANDA Multi-National
CARDIACS United Kingdom
CARTEL CARNAGE France
CARTOON United States
CASSIBER Germany
CATERPILLARMEN Iceland
CAZUELA DE CďNDOR Chile
THE CELLAR AND POINT United States
CERBERUS SHOAL United States
CHARMING HOSTESS United States
CHEER-ACCIDENT United States
CH╩NE NOIR France
GUIGOU CHENEVIER France
CHOU PAHROT United Kingdom
CHROMB! France
CICALA-MVTA Japan
THE CLAUDIA QUINTET United States
A CLEAN KITCHEN IS A HAPPY KITCHEN Belgium
CLOUD BECOMES YOUR HAND United States
COBRA United States
JEAN COHEN-SOLAL France
COMBAT ASTRONOMY Multi-National
COMBO FH Czech Republic
COMMUNIO MUSICA Denmark
LINDSAY COOPER United Kingdom
COSA BRAVA United States
CREEDLE United States
CRO MAGNON Belgium
CTHULHU RISE Ukraine
CUCAMONGA Argentina
CULTO SIN NOMBRE Mexico
CURLEW United States
CUTLER AND FRITH United Kingdom
CHRIS CUTLER United Kingdom
RUBEN D'HERS Venezuela
DAIMON ORCHESTRA Japan
PATRICIA DALLIO France
DANISCO (FOR BEAUTY) France
DATE COURSE PENTAGON ROYAL GARDEN Japan
DEADBURGER Italy
DEBILE MENTHOL Switzerland
DECIBEL Mexico
DEEP SWEDEN Czech Republic
DEMI SEMI QUAVER Japan
DANIEL DENIS Belgium
DEUS NUVEM Brazil
DIE ANARCHISTISCHE ABENDUNTERHALTUNG Belgium
DISCUS Indonesia
DOCTOR NERVE United States
BOB DRAKE United States
TOBY DRIVER United States
THE DRX United States
PASCAL DUFFARD France
DUMB WAITER United States
DUNAJ Czech Republic
TREVOR DUNN United States
DURE-M╚RE France
DUREFORSOG Denmark
THE DUSTMAN DILEMMA France
EARDANCE United States
EBU GOGO United States
ELECTRIC MASADA United States
RICH WOODSON'S ELLIPSIS United States
ENCORE + GRANDE Multi-National
ENSEMBLE HAVADI└ Italy
ENSEMBLE NIMBUS Sweden
L' ENSEMBLE RAY╔ Switzerland
ENSEMBLE SUPERMUSIQUE Canada
EPN TRIO Argentina
EREHIA Mexico
ERTH Costa Rica
ESKALATION Germany
ESKIMO United States
ESTRADASPHERE United States
ETRON FOU LELOUBLAN France
EX-GIRL Japan
EX-P Italy
EXTRA LIFE United States
FACEMEAT Australia
FACTOR BURZACO Argentina
PAVEL FAJT Czech Republic
BERNARD FALAISE Canada
FAMILHA ART┌S France
FANTďMAS United States
FAR CORNER United States
FAT Canada
FERDINAND RICHARD France
UN FEST═N SAGITAL Chile
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
FREE SALAMANDER EXHIBIT United States
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
GUERILLA TOSS United States
GUNJOGACRAYON Japan
GUTBUCKET United States
GUTURA France
LES HALMAS Switzerland
HAMSTER THEATRE United States
HAPPY 55 Russia
HARDSCORE Belgium
HASIDIC NEW WAVE United States
THE HAT SHOES Multi-National
CHARLES HAYWARD United Kingdom
HELLEBORE France
HELMUT RËBOT Argentina
HEMOPHILIAC United States
HENRY COW United Kingdom
HERBE ROUGE France
HESUS ATTOR Croatia
HI-SPEED Japan
HIKASHU Japan
ZACH HILL United States
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
HÍYRY-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 INCRE═BLE FUGA DE TRI┴NGULOS Argentina
INFANTEPHANT United States
L' INFONIE Canada
INNER EAR BRIGADE United States
INSIDE//OUTSIDE United States
INSONAR Italy
INTERFERENCE SARDINES Canada
IVOR AXEGLOVITCH Denmark
JACK DUPON France
CATHERINE JAUNIAUX Belgium
JEAN LOUIS France
JIMI SUM╔N PROJEKT Finland
SCOTT JOHNSON United States
JONO EL GRANDE Norway
JORK Ireland
JAKOB JUHKAM Estonia
JULVERNE Belgium
JUMP FOR JOY! Multi-National
JUNGLE Japan
JUSTINE Canada
KAADA & PATTON United States
HENRY KAISER United States
KAM-PAS-NEL-LA Multi-National
HOPPY KAMIYAMA Japan
KAPELA LA CHATELIER Slovenia
KAREN COOPER COMPLEX United States
KARENAUTAS Argentina
KARMIC JUGGERNAUT United States
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
DIE KNÍDEL Austria
KNOMIGON United States
KOLKHÍZE PRINTANIUM France
KOMBINAT M Austria
KOMINTERN France
KOREKYOJINN 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
HARRI KUUSIJ─RVI KOUTUS Finland
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
JOS╔ LUIS FERN┴NDEZ LEDESMA Mexico
JOHN DE LEO Italy
LIGEIA MARE United States
LIGHT COORPORATION Poland
LITAI Italy
LITTLE WOMEN United States
THE LOCALS Germany
LOOK DE BOUK France
LOOMINGS 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 SEXTET United States
LE MASCHERE DI CLARA Italy
MASSACRE United States
MESMERICO Italy
METABOLIST United Kingdom
METAL-O-PHONE France
METAMORPHOSIS Czech Republic
MIASMA & 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
MONOGLOT Switzerland
MOONCHILD TRIO United States
MORKOBOT Italy
MORVISCOUS United Kingdom
MOSA¤C France
MOTOR TOTEMIST GUILD United States
MPXXIV Switzerland
MR. BUNGLE United States
MUCHO TAPIOCA France
MUD MOTHS United States
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
NICOTINA ES PRIMAVERA Argentina
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
OHO United States
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 METAF═SICA 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
PEARLS OF SWINES France
PERFUME DE MUJER Cuba
PERHAPS CONTRAPTION United Kingdom
LA PERRA Mexico
PFS United States
PIENZA ETHNORKESTRA France
PIG SOUL Brazil
PIKAPIKA TEART Russia
PINIOL France
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
POLYMORPHIE France
LES POULES Canada
PRESCOTT United Kingdom
PRESENT Belgium
NICK PROL AND THE PROLETARIANS United States
PROSESSOR BALTHAZAR Norway
PSUDOKU Norway
PSYCHOYOGI United Kingdom
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
REFLECTIONS IN COSMO Norway
REPORTAZ Poland
THE RESIDENTS United States
RESISTENCIA CHACO Argentina
R╩VE G╔N╔RAL Multi-National
LES RHINOC╔ROS United States
ALESSIO RICCIO Italy
RINNESYA Japan
HARRY ROESLI Indonesia
ROUGE CIEL Canada
ROZ VITALIS Russia
SAAL HARDALI Israel
SAJJANU Japan
SALES DE BAĐO Argentina
SALLE GAVEAU Japan
SALMAG▄NDI Italy
SAMLA MAMMAS MANNA Sweden
SARLO AKROBATA Yugoslavia
SATANIQUE SAMBA TRIO Brazil
MASAHIKO SATOH AND THE SOUNDBREAKERS Japan
DIONYSIS SAVVOPOULOS Greece
DANIEL SCHELL & KARO Belgium
SCHNELLERTOLLERMEIER Switzerland
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
FRANCISCO SLEPOY Argentina
SMEGMA United States
SNAKE OIL France
SNAKEFINGER United Kingdom
SNARLING ADJECTIVE CONVENTION United States
THE SOCIET└ ANONIMA DECOSTRUZIONISMI ORGANICI Italy
LA SOCIETE DES TIMIDES └ 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
STEPMOTHER Multi-National
STOP MOTION ORCHESTRA United States
STORMY SIX Italy
STRANGE CHANGES United States
STRIPSEARCH United States
SUBTILIOR Italy
SUDOKU KILLER Italy
SUN CITY GIRLS United States
SUPERDENSECRUSHLOADFACTOR Australia
SWEET POTATO United Kingdom
SYNKOKE Norway
SZENTENDRE France
HERMANN SZOBEL Austria
TACO Japan
TAIRIKUOTOKO VS SANMYAKUONNA Japan
TALI TOK╔ Belgium
TAMANDUA United States
TANZ Italy
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
TIN HAT United States
TIPOGRAPHICA Japan
TOM MOTO Italy
TONE DOGS United States
TOUPIDEK LIMONADE France
TR-OND AND THE SUBURBAN SAVAGES Norway
TRANSELEMENT / ELEMENT United Kingdom
TRAP United States
TRAUN 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
UBERBAND 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
PIERRE VERVLOESEM Belgium
VEZHLIVYJ OTKAZ Russia
VIALKA France
VIDEO-AVENTURES France
VIRGULE IV France
VLADIMIR BOZAR N ZE SHERAF ORKEST─R France
THE VOID'S LAST STAND Germany
VOLAP▄K 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
BRIAN WROTEN United States
X-LEGGED SALLY Belgium
XAAL France
XHOHX Belgium
YBO▓ Japan
YETI United States
LES YEUX DE LA T╩TE 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
ZAUSS Multi-National
TOM Z╔ Brazil
ZENERIK Greece
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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