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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 20/6/2015

Raffaella (Raff)
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 | 1182 ratings
HOT RATS
Zappa, Frank
4.64 | 36 ratings
H─XAN
Art Zoyd
4.30 | 677 ratings
THE GRAND WAZOO
Zappa, Frank
4.30 | 660 ratings
ONE SIZE FITS ALL
Zappa, Frank
4.29 | 209 ratings
SING TO GOD
Cardiacs
4.27 | 293 ratings
CHOIRS OF THE EYE
Kayo Dot
4.28 | 228 ratings
UZED
Univers Zero
4.42 | 52 ratings
ZABRANJENO PLAKATIRATI
Buldozer
4.26 | 208 ratings
M┼LTID
Samla Mammas Manna
4.27 | 191 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.29 | 127 ratings
IN EXTREMIS
Thinking Plague
4.25 | 204 ratings
HERESIE
Univers Zero
4.35 | 67 ratings
JEAN LOUIS
Jean Louis
4.40 | 49 ratings
BOOK M
Secret Chiefs 3
4.45 | 38 ratings
Гуси-Лебеди / GEESE AND SWANS
Vezhlivyj Otkaz
4.45 | 37 ratings
SIRENS AND SILENCES/WORK RESUMED ON THE TOWER
News From Babel
4.29 | 95 ratings
BARBARO (MA NON TROPPO)
Present
4.24 | 165 ratings
WESTERN CULTURE
Henry Cow
4.30 | 73 ratings
DUCK STAB / BUSTER & GLEN
Residents, The
4.55 | 25 ratings
LETTERS HOME
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

VEUILLEZ PROCEDER
Rouge Ciel
ZAAR
Zaar
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Hollmer, Lars
BEGNAGRAD
Begnagrad

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Latest RIO/Avant-Prog Music Reviews


 Joe's Domage  by ZAPPA, FRANK album cover Studio Album, 2004
1.73 | 35 ratings

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Joe's Domage
Frank Zappa RIO/Avant-Prog

Review by TCat
Prog Reviewer

1 stars This one is definitely only for hard core FZ fans. This was recorded during rehearsals for the Waka/Jawaka and the Wazoo sessions. It is a very interesting insight into the rehearsals of FZ and his band, and helps to show that Zappa's music wasn't just a bunch of sounds thrown together, but that the very technically difficult parts of his music were not just accidents, but were structured and well composed pieces.

On the second track, we have mostly a rehearsal of "Little Brown Clouds" which somehow got a snippet of "Big Swifty" in there. When it hits that spot, it sounds almost like a bad edit in there, so I question as that was one specific session or not. The third track (all 17 minutes of it) is the band trying to rehearse the very challenging section of "One Shot Deal" from "Waka/Jawaka". This is the section that bookends the instrumental section of that song, and if you are familiar with it, you know the strange section I'm talking about, the part that is unbelievable that the musicians were able to ever play together. For those not familiar with this material, this will mean nothing, and this is why this is a recording only for completionists, because it won't make sense to anyone that isn't extremely familiar with Zappa's music, or only of interest to a musician who understands some theory or who has had to deal with rehearsals and know what the band is going though. The entire 55 minute run time of this album is only rehearsals all the way through. Don't expect to hear any full run thru's at all, it's all about Frank coaching his band how to play his difficult music and them practicing over and over those difficult sections in the music that was created during this time period.

This period of FZ's career is one of my favorite periods, but that doesn't help this recording. You must get the original studio albums "Waka/Jawaka" or "The Grand Wazoo" to know how excellent this era in his career really way, but "Joe's Domage' is not the way to listen to this era unless you are already familiar with it, and even then, it is not entertainment as it is a curiosity for completionists. Acoording to Gail Zappa, these recordings were all taken off of a rehearsal tape that FZ carried around with him during the tours supporting this part of his history. The recording is bad, the subject matter is only good for occasional interest and not for entertainment so to speak. 1 star.

 Joe's Corsage  by ZAPPA, FRANK album cover Studio Album, 2004
2.98 | 33 ratings

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Joe's Corsage
Frank Zappa RIO/Avant-Prog

Review by TCat
Prog Reviewer

3 stars Released posthumously in 2004, this is a collection of very early Mothers of Invention tracks, probably recorded mostly before the Mothers was even the name of the band. These tracks are early versions of tracks from "Freak Out!", "Absolutely Free" and "We're Only in it For the Money". Some have different names. There are also a few covers that don't appear on other albums.

This is a rather valuable collection for the Zappa fan and also a good collection for lovers of Doo Wop/R&B music from the 50s and 60s. The recordings are pretty decent, but there is nothing prog about any of this music. There are also some interview clips included here from a radio show (Canadian I think).

"pretty pat" is a short interview clip about how the band came up with the name "Mothers of Invention". Tracks 2 - 5 are demos from 1965 and are all songs that should be recognized from the early albums, but these are versions that you probably haven't heard, mostly with different lyrics.. For example, "Motherly Love"'s lyrics are more specific when talking about specific members of the band instead of the group in general. "Plastic People" includes lyrics that were probably too questionable for the time it was released officialy for the album.

Tracks 6 - 8 are taken from a live performance possible in California sometime around 1964 or 65. The first snippet from track 6 is from an interview, but it flows into the performance of "My Babe" which is a cover of an old Righteous Brothers song. Next is a short instrumental and after that is "Hitch Hike" which is unique to this collection.

Tracks 9 - 11 are more demos from before the Freak Out! album and include more songs that made some of the early albums. Again, these are rare recordings that were not available previously. The last track is a 5 minute spoken word taken from the interview again where Frank talks about the early history of the group and how tough it was. There are some interesting tidbits here for sure.

There have been other collections from these early years, but these tracks are all pretty much unique to this collection as far as early demo versions mostly. Probably not a lot here to interest the casual listener, but for those interested in the Mother's early history, this is a great collection. No prog though, so don't go looking for it here. 3 stars.

 Jazz From Hell by ZAPPA, FRANK album cover Studio Album, 1986
3.46 | 175 ratings

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Jazz From Hell
Frank Zappa RIO/Avant-Prog

Review by TCat
Prog Reviewer

3 stars This entire album is instrumental and (except for one track) all done on the synclavier. Out of all the clinically sounding synclavier albums, this one is one of the best ones, but personally I would rather hear an orchestra or one of Zappa's bands try to perform the songs, because the tracks are near impossible for a human to perform them, though many have tried. This is why Zappa used the synclavier, because the notes could be processed into whatever he wanted and put into a computer. Thus, the computer is the instrument on most of the tracks here.

Now, contrary to those who are unenlightened, these compositions are not just noodling or random goofing off on the computer, these are actual written compositions. They are quite brilliant and in the realm of classical/jazz/rock fusion. But the synclavier can be quite clinical sounding, and it makes the performances not very dynamic and very same-y sounding. However, the tracks are all unique.

"Night School" is the one of the better synclavier pieces in that it is programmed to have the piano sound as the main "instrument" and since the synclavier is related to keyboards, it is very realistic sounding. This is a very nice piece and not as complicated sounding as the other tracks here. It starts the album off in a nice way. This track is named after a late night TV show that Frank was asked to host on a nightly basis. It was to take the place of the Joan Rivers show. Frank even had guests lined up and a regular band that would play and also claimed that one of the topics he was going to discuss why it was okay to show a native female human's breast on TV but not okay to show a Caucasian breast. Yep, this was Frank. But it also sounds like he had some very serious issues and guests to discuss also. Anyway, I have no idea if this track is taken from the theme song or not.

"The Beltway Bandits" is a rather chaotic piece that is all over the board and sounds like a traffic jam. "While You Were Art II" is transcribed from a guitar solo that is featured on the "Shut Up and Play Your Guitar" collection called "While You Were Out" that was transcribed by Steve Vai for guitar. Frank took that transcription and adapted it for orchestra when it was requested by a conductor. He made a few changes and mixed up the melody so that it jumped around to different instruments. The conductor took a look at the finished manuscript and said that they wouldn't be able to learn it. So Frank suggested they put the music into the computer and let it play the song for them while the orchestra faked it. Believe it or not, they did it. Frank was quite amused that the music critics didn't even realize that it was a computer playing it, and they never knew until a few of the orchestra members decided to apologize. Frank's last laugh for this one was to give it the name he did after the conductor whose name was Arthur. The "II" in the title is because this version played here is not exactly the same as what he transcribed and programmed for the orchestra, it has a few changes. In any event, it is another chaotic piece with so many meter changes it just as well be written in free meter. However, it does have some variance at least during it's 7 minute run time, there is a calmer middle section where the percussion sounds quit for a while and then return later.

"Jazz From Hell" is a little more interesting where it has some jazz harmonies and aspects and it also contains some realistic brass sounds for a short time. This one has more structure than the previous two. "G-Spot Tornado" is the most interesting of the synclavier tracks and it's one that I actually enjoy because it sounds like it's supposed to be electronic. It doesn't try to imitate another instrument, at least the main melody. It is quite a complicated piece nevertheless, and is one that Frank specifically points out as being humanly impossible to play. The next track is "Damp Ankles" and is named after some youth group leader that made his kids lick his ankles in order to pay homage to him. Weird. The track doesn't really stand out much among the other tracks though.

"St. Etienne" is the only track on the album that involves the band in a concert setting, and is the guitar solo from the song "Downing Witch" recorded at the place that the track is titled after in France in May of 1982. It is quite a nice break from the similar sounding tracks from before and a decent enough guitar solo from Zappa. I think it was added here to fill in time however since it is a completely different source. The last track is the short "Massagio Galore" which ends the album in the usual synclavier mode. This is very sarcastic sounding, so I'm sure there is a story behind it, but I'm not sure what it is.

Anyway, not a bad album considering it is rather clinical sounding. It got great reviews, and considering the compositions and the genius of FZ, I can understand it, but, like I said, I would rather hear an orchestra or band try to attempt it, even if they massacre it than listen to the flat and fake sound of the computer. It gets high marks simply for the genius of the composition, not necessarily the performance or sound of the computer here. I would rather hear these tracks intermingled with more traditional instrument pieces for variety, one of these on this album isn't enough to carry it. 3 stars, but those stars are all because of the greatness of the music, not the sound. Yeah you can call me a purist if you want, but there it is.

 Static Motion by SONAR album cover Studio Album, 2014
3.96 | 16 ratings

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Static Motion
Sonar RIO/Avant-Prog

Review by Mellotron Storm
Prog Reviewer

4 stars Swiss band SONAR got their name from the SONic ARchitecture they create which is polymetric and highly structured. The two guitars and bass are tuned to the tritones which gives this album a dark mood throughout. We get two guitarists a bass player and drummer. This is Math Rock for sure yet with a twist I guess you could say. KING CRIMSON certainly came to mind with how precise and complex this is. It was recorded live in studio at Ocean Sound Recordings in Norway with very little done to it afterwards except some reverb. Someone stated that the music gives the impression of moving yet it makes no progress. Nik Bartsch said "Once you are in SONAR's sound world you won't want to leave" and for me this was very true. I usually complain about 70 minute albums but for a minimalistic recording at that length the time always flies by, very strange other than I love this style of instrumental music.

I won't say much on each track but first up is "Static Motion" the title track that some compare to being a cross between "Fracture" and "Meeting Of The Spirits". Atmosphere to start as the drums rumble in and out. Picked guitar after a minute and a second one joins in. It settles in around 2 minutes with drums and bass. This is so good! A calm 3 1/2 minutes in. "Twofold Covering" is one of my favourites. I just adore this minimalistic stuff that is so dark and precise. "Landslide" is another track that is dark with intricate sounds throughout.

"Shadow Play" is another highlight for me. It has this "Lost In Space" vibe to it. "Triptych" has one of the few breakout moments after 5 minutes when things pickup and turn fuller. "Continuum" continues with the same style although the guitars are almost playful 4 minutes in. "Tranceportation" is such a great title and yes it sounds like we are moving forwrd in a trance-like state. Nice bass after 3 minutes as well. "Zero Tolerance" is a little more intense than the other songs and I like each time the tension breaks. "Verticle Time" is spacey and is possibly the most minimalistic tune on here.

Man I dig this album yet I get the reasons some are less than thrilled with it. A solid 4 stars.

 Words Can't Say by SUPERDENSECRUSHLOADFACTOR album cover Studio Album, 2015
3.00 | 1 ratings

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Words Can't Say
Superdensecrushloadfactor RIO/Avant-Prog

Review by DamoXt7942
Forum & Site Admin Group Moderator

— First review of this album —
3 stars Really a neat one, my love.

Thanks to my great friend and a superb solo artist Gabe BULLER for letting me know such a killa. He's a nice guy and simultaneously a magician with multiple instruments and fruitful soundscape, that would be certified by this creation.

Actually the first acoustic shot "Sleepin' All Through The Day" knocked me down completely. A cynical message against such a terribly hard world along with his inner space, this safe and sound song seems to give me. "Discoveries Made During The Flight" is an acoustic guitar-based multidimensional flight for the clear blue sky ... swift alteration of his melodic and rhythmic appearances sounds fantastic and gives me kinda comfort. Quite amazing and impressive, if SDCLF be not a solo project. "Silence", followed by a similar one "Even Though I'm Awake", is a temporarily monotone swing around some lazy atmosphere ... sounds like he's upset not to realize why such a silence around'em. In "Authentic" I can hear his resistance against the golden road, back to his "nonauthentic" guitar phrases ... why not kicking authentic away, he might say, maybe I'm wrong meh.

"Mean", another instrumental one seasoned with kaleidoscopic, randomized percussive sound tensions. Such a distorted strategy of his should be pretty appreciated definitely, and his lovely punk punctures can be heard via this short one. Also in the following stuff "Grey"or "Staring At The Moon" (where crazy warped synth footprints can be touched), he would scatter controversial sound shower and squeeze some pieces into my ears. Not simply a pure acoustician but also a critical cynical creator. "Chicken" reminds me of his mischievous and wonderful thoughts produced over there. Pleasantly fly over the green forest but suddenly stumble upon a tough real life, I imagine? Sounds like the last "Words Can't Say" might be thought as his depressive side of the mind balloon, which should be very fragile even by a poor man like me, simply with distressed guitar phrases.

Not fully innovative nor incredible, but this "nonauthentic" playful album is not bad really methinks. My love, again let me say.

 Compassionizer by ROZ VITALIS album cover Studio Album, 2007
3.50 | 11 ratings

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Compassionizer
Roz Vitalis RIO/Avant-Prog

Review by XPEHOPE3KA

3 stars In the journey to review all the studio albums of ROZ VITALIS I finally came to the last album to look like sole Ivan Rozmainsky project with guests, next ones will be group efforts.

Overall this is almost NOT an avant-garde album, with mostly keyboards, programmed percussion and other effects, guitar and some clarinet action. Almost always slightly slower than mid tempo. Both guitar and clarinet are scarce, psychedelic, often quite quieter than keyboards. After most previous albums going from very avant-garde to very boringly spacey this seems to be MUCH more balanced. Track by track thoughts with ratings follow.

3* Tragic fate 7:05 Has an atmospheric start with synthesizer effects, then some clarinet(?) and guitar come in, tension grows slowly and quite boringly up until 2:50. Then things change completely, somewhat complex drums, energetic keyboards - all what I've come to like about Roz Vitalis, but this time even with frisky or wailing guitar! This is one of the most avant-garde parts of the album. At 4:10 another change, to slow organ and guitar interplay, then at 4:50 again the main theme, building up to just a guitar and drums and percussion. From 6:15 goes some stomach-timbred organ with guitar. This could have been a 5* track with another intro and probably middle part.

3* Autumn of hypocrisy 3:59

This starts with a distinctively Rozmainsky'ish piano solo with some synth effects. Now it's bright, now it's tense! Seems like it shows just what a hypocrite looks like. From 1:40 sawing synths kick instead with some more normal keyboards. This probably should show what a hypocrite feels inside towards what he plays the hypocrite about. After 3:15 goes some psychedelic clarinet part. All happens with no drums. It's an illustrative track with wonderful intro, but the end is boring and sawing is quite uncomfortable.

4* Compassionizer 5:21

This one starts with a playful quirky dissonant piano solo, like from early films, from some scene with an intricate prank. Guitar helps with quiet howling. Complete change at 0:45: now two keyboard parts with scarce drums and murmuring synthesizer effects. Main keyboards parts keep changing while drums are quite the same but complex. Keyboards gradually play darker, drums help to pump more drama. From 4:30 goes sole spent synth part. Overall it's not a 5* just because my expectations were too high from music building up in the middle. Neither the way it was done nor the climax feel like excellent, just very good.

3* Elusive goodness 4:24

This is a mellow yet quirky keyboards (piano, synths, effects) composition, same theme delivered with different flavours and some spin off themes. The track title is really telling: melody really hints at goodness all the time, but there's also a slightest hint of tension. Beautiful but slightly repetitive and no other instruments. Easy 4* if sole keyboards are good for you.

3* Wakatte kudasai 7:27

It starts with some psyche clarinet and synth effects, from 1:30 some harpsichord-like synths and clarinet play in turn and together. An oriental (clarinet) and otherwordly (synths) tune follows, very interesting, with infrequent rhythm, tension builds up gradually up until 4:35. Then follows some 'standard' lovely avant-prog for a while, then rhythm changes, guitar starts playing, clarinet shuts down. 5:40 - keyboards are silent for a while, just guitar with drums and percussion, then keyboards and guitar play in turn several times, then blend, but guitar is still leading the way. All in all it's quite an extraordinary composition for Roz Vitalis (with quite a part of supporting, not leading keyboards), but for my taste it's overextended and slightly dull in the middle.

3* Annihilator of moral hazard 6:23

This is their all time concert hit, there are several versions on the live/bootleg CDs. The one prefixed with 'Wooden bear' is a psyched performance with lyrics, played until 2011. Then there's a better version with normal instrumentation, like at 'Live 14-11-14'. It still has quite psychedelic middle, but the main theme has quite some time. Also there were numerous concerts with other arguably rockier versions not available on CDs. The studio version though is very different. It starts with sprightly drums and murmuring keyboards, also there are some flute like sounds, then some tense quiet synth part with percussion. Then these two parts repeat with slight variations. Heavy parts are very good. Then some psych synths with rhythm- synth and guitar which changes at 3:50 to a continuous guitar fingering. Then follows the main theme and then again it's played but by guitar only. Main theme is easily 5* but the quiet/psych parts somewhat spoil the experience for me once again.

3* Dances of lost opportunities 5:38

This is a keyboards + percussion tune. Starts with an almost bright piano solo, track title again is quite telling. Then the heavy synths with percussion continues the melody with no brightness at all. Then a slowed down build-some-tension part which abruptly ends at 2:15 to allow some sole synth part. From 2:50 again a darker avantish part which I like. From 4:25 again just sole synth up to the end.

3* Disruption 3:41

This starts seemingly like a sequel to the previous track, below the average tempo. Then from 1:15 synth effects are supporting sole keyboard part, then sole guitar, then some clarinet with hints of guitar. From 2:32 the first theme again.

4* Train of parting (Compassion version) 7:55

It starts with a piano solo, again reminiscent of the previous track. Then synths and effects, then drums kick in, then guitar. Nice tension built suddenly changes at 3:15 to a quite bright but appropriate insert. Salivating listener from 3:50 hears an avant-prog part like from 'Tragic fate', up-tempo. Then some change to a leading guitar with synths and mid-tempo drums, building up to a 5:25 climax with flickering drums and howling guitar. Silence from 6:20 to 6:50 where just one drum beat happens followed by a closing keyboards-guitar interplay. Better coda would have easily made it a 5*.

Time-weighted score 3.25

 Litai by LITAI album cover Studio Album, 2012
3.31 | 4 ratings

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Litai
Litai RIO/Avant-Prog

Review by DamoXt7942
Forum & Site Admin Group Moderator

3 stars Quite diverse appearance but their music core sounds intensive. LITAI are an Italian avantgarde jazz combo that possess a strict, sharp instrumental technique and deep, dark music vibes. Every musician has a promising intention for their sound development and innovation definitely. Can be called as "Italian dark multidirectional jazz rock" let me say.

Their soundscape might have got influenced by lots of jazz rock vanguards like King Crimson in the Discipline era (e.g. a track "Olio Su Tela" sounds like "Neil And Jack And Me") or Yochk'o Seffer (yeah saxophone madness), and crazy voices are something characteristic. Exactly their massively, strongly unified rhythm army parade is perfect and their creations in this debut shot are pretty promising.

Contrary to their splendid instrumental technique and multidirectional rhythm and multitempo (and simultaneously without any blur) soundprint shower, their soundscape or tune appearance should remind us of something like texture by the pioneers of jazz rock. Quite a tough call to create novel phrases, paragraphs, or stories under this subgenre where the excellent vanguards seem to have completed development perfectly. Honest to say (and personally) it might be more interesting they would squeeze Italian Symphonic Rock essence into such a killer avantgarde jazz rock. Yea this has been released as their debut album, so Ido hope their following creation will grab more and more amazing kaleidoscopic flavour and taste, along with their current promising exertion of powerful jazz rock entertainment.

In conclusion, we have NO suspicion against the fact they are fantastic really. And of course, we have a magnificent expectation for their next creation and brilliant future. Cheers!

 UKIYOE - Mondi Fluttuanti (with Insonar) by NICHELODEON album cover Studio Album, 2014
4.27 | 13 ratings

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

Review by VOTOMS

4 stars Review n░ 235

Nichelodeon's distrubed lullabies, and a short film reccomended by me to David Lynch fans.

Nichelodeon UKIYOE - Mondi Fluttuanti (with Insonar) / QUICKWORKS & DEADWORKS is a CD+DVD project and conducted by Claudio Milano and a huge ammount of people (and seems each one had written it's own arrangement), a list too extended to post here, sorry. When I got the album files, there were so many stuff I didn't even know where to begin. Pictures, an experimental/surreal movie -probably inspired by David Lynch short films- directed by Francesco Paolo Paladino (never heard of his name before, but great weird job, man!), something like a nonsensical photo slide show featuring a romance with a skeleton furry toy, and a music album. The music presented on the album is absolutely hard listening, and it deals with water and ocean subjects. While listening to the album I thought of retarded children in a haunted submarine-hospital driven by an ethereal moanin' friendly jellyfish secretly carrying evil intentions. Fok Progressivo In Opposition distmembered leftovers randomly clued to each other. That's nice.

 UKIYOE - Mondi Fluttuanti (with Insonar) by NICHELODEON album cover Studio Album, 2014
4.27 | 13 ratings

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

Review by siLLy puPPy
Collaborator PSIKE Team

5 stars Both NICHELODEON and InSONAR are projects initiated by the vocal star of the show Claudio Milano who created these projects to be large collectives designed to revolve around a rotating cast of avant-proggers who want to create some most unconventional music. NICHELODEON dates back to 1997 while InSONAR only began in 2010. On this collaborative affair the two collectives merge to bring us some of the most fluid and visceral music i have ever heard. This is one of the most complex albums i have ever listened to and likewise one of the most difficult to review. Everything about this album demands extreme diligence in paying attention to the details. Even the titles are complex! This album is officially a collaborative release called UKIYOE (MONDI FLUTTANTI) / QUICKWORKS & DEADWORKS. The artists are NICHELODEON with InSONAR and FRANCESCO PALADINO. Let me clarify this for you. This is a double release that contains one CD and one DVD. The CD musical journey is performed by NICHELODEON with InSONAR and it is titled UKIYOE (MONDI FLUTTANTI) while the DVD part was created by FRANCESCO PALADINO and is titled QUICKWORKS & DEADWORKS.

The theme of the whole project actually revolves around water. Water is the focus because it such a main component of all of life and the main constituent that allows our planet to sustain it. This work is chock full of symbology and once i inquired into the subtler meanings i was bombarded with all kinds of analogies, proverbs and unlikely influences. Worry not for you don't have to understand all of this to enjoy this music but it does allow you to explore as deeply as you wish. Putting that into the context of water, you can either choose to merely skim the shallow shores and only get your feet wet or if you are brave enough you can plunge into the deepest recesses of the the oceanic trenches where only bio-illuminating creatures break the cold abysmal monotony.

Claudio has explained to me that these musical expressions were created in the 2013-14 time continuum when he experienced profound insight and spent an entire month creating the accompanying beautiful paintings and illustrations that grace front, back, the inside and out with a whole little booklet included. Everything on this release is tied to the overall theme starting with the visual art itself. The jellyfish serve as an omen of how beauty can be dangerous, fragile and most of all fleeting, which brings us to the title of the album.

The title of the album UKIYOE comes from UKIYO MONOGATARI which is a concept that was put out in the first works of Asai Ryōi (浅井 了意?, c. 1612 ? January 29, 1691) who was a Bhuddist priest in the early Edo period in Japan. UKIYO is the concept that life is transitory and nothing lasts forever and that one's energy must be put into lasting spiritual matters that would continue on to the next life. I see the jellyfish as representing the beauty of the physical world but the dangers of handling matters in the wrong way can leave you wounded and scarred with precious energies wasted and a spiritual stinging. The imagery of the jellyfish and impressionist artwork lends well to the music at hand with its often ethereal and ability to evoke a sort of liquid conscious response to its fluidity and rhythmic drifting hither and tither like a jellyfish at the mercy of the tides. The music itself seems to follow the same ebbs and flows only in the sonic ethers of music.

The music was constructed in a most ambitious way. Each member created his/her own arrangement for each track with Claudio Milano acting as the conductor as well as avant-opera star. The tracks were mixed with the contributions of the acting members in order to create the larger-than-life kaleidoscope of sound that this music exudes. On board with this project are several musicians with an interactive orchestra that amounts to over 30 individuals. The music is really hard to pigeon-hole into any particular category and is fairly eclectic but there is a strong underlying theme of both Mediterranean cafe music with a heavy use of traditional accordion sounds, classical opera and on the wilder sides can conjure up Henry Cow, early King Crimson and even some jazz, electronica, drones and percussive outbursts that find their way into the mix. The music tends to begin the album on the more accessible side and ends with a kind of Krautrock chaotic ending.

Each track is filled with complex life experiences dealing with all kinds of human experiences that tend to be quite difficult. For example:

1 Veleno (Poison) is a tale of a failed son who wants to die but cannot bring himself to suicide for love of his parents so he turns to the fantasy world to escape life's disappointments

2 Fi(j)¨ru d'Acqua (Flower/Son of Water) takes lyrics from a Rilke poem and deals with concept of nature as benign and creator of all beauty.

3 Marinaio (Sailor) deals with the concept of needing to kill in order to survive and how promises can become betrayal.

4 Ohi MÓ - Nel Mare che hai Dentro ? (Oh Mother! About the Sea you have Inside) is about the reduction of dreams and dignity to mere economics in order to survive in a world where everything has become a market commodity. This track is sung in a local dialect of Southern Italy.

5 I Pesci dei tuoi Fiumi (The Fish of your Rivers) is taken from Ezekiel in the Old Testament where God is described as the Bringer Of Abundance.

6 MA(r)LE is the agglutination of "Mar (sea)" and "Male (evil)" in Italian and represents the sea as a bearer of death as an uncontrollable fury such as experienced by the shipwrecked people in the short DVD film that accompanies the disc.

Ah, now for the film! It is a short one at just over 26 minutes. It is tied in to the overall theme of the music and is presented in a surreal detached manner. In this regard it reminds me of "Eraserhead" in the fact that there are long dramatic pauses accompanied by TV narration and just plain strangeness! It starts with two couples, one older and one younger staring at the boat that they had to dock because of a reported storm. They decide to wait it out in one section of a castle i presume. The next twenty minutes or so shows them mostly staring at each other but interacting in strange ways. I have only seen this once and it obvious there's all kinds of subtext to it all. The dialogue is minimal with most talk being from a TV narration about snakes! It is very surreal to say the least. Claudio's vocal acrobatics pop in from time to time with some accordion music. I was originally unable to view the DVD because of those damned regional variations that prevent us in North America from viewing European DVDs but Claudio was gracious enough to convert it to a file i could download. Grazie :)

All i can say is this is one strange album but it has more than enough to reel you in instantly and then keep you hooked by constantly unleashing new surprises. It is as murky as the turbulent ocean and as placid as an alpine lake. The interaction of the musicians is impeccable and the orchestral cooperation is on the highest level of professionalism. I will have to count this one as a slow burner and one that gets better the more i experience it. Claudio has the vocal range of Celine Dion but the creative display of Mike Patton. The accompanying vocalists seem to dance together in the sonic dance floor and the instrumentation can create the most pleasant and addictive melodies or act as the musical equivalent of a tsunami crashing against the shores sweeping all life and structures out to sea. While i can't say i comprehend every aspect of the symbology i have learned about this release, i can say that i have been really enjoying this one a lot lately and since this is my very experience of anything by NICHELODEON or InSONAR i have high hopes that there is much more intricate creativity just bursting out in other releases. Highly recommended.

 In Glorious Times by SLEEPYTIME GORILLA MUSEUM album cover Studio Album, 2007
3.93 | 101 ratings

BUY
In Glorious Times
Sleepytime Gorilla Museum RIO/Avant-Prog

Review by TCat
Prog Reviewer

5 stars Sleepytime Gorilla Museum is the offspring of "Idiot Flesh", a band that was delightfully crazy and totally out there. SGM rose from the ashes of Idiot Flesh and pretty much continued where that band left off, progressing and getting better and better. Yes, there is still that insanity that runs rampart through the songs, but the music has become increasingly smart and amazing. The sad thing is, that SGM only produced 3 studio albums, again each one excellent, but each one progressing the sound further. The band, for some reason just wasn't embraced as they should have been.

So, by the time you get to this album, if things were always progressing, then you would assume this must be their best right? Yes, I do believe it is. Everything SGM has produced has been challenging, yet brilliant, yet somehow they just kept outdoing themselves. However, the appreciation for the genius of this album seems to not be apparent among most listeners at first, and such was the case with me. Now, however, I sit down and listen to this work of advanced craziness and I have come to the conclusion that their swan song was their best. It's a shame that the band couldn't have been appreciated by those that should understand their music, the lovers of prog rock, specifically RIO and/or Avant-garde metal progressive. Now, calling this band metal progressive is going to throw prejudice on their music because too many proggers will be turned off thinking this is metal. But let me assure you, this is not metal that your burned out brothers listened to. This, like I said before, is genius, and the sound, even though it leans to the loud and noisy side of things, it is still so varied and dynamic unlike anything else in metal. In a previous review, I said that SGM is probably more like some of Mike Patton's crazier side projects, and that is really the closest you can come to comparing the overall sound. But, believe it or not, all craziness and chaos aside, this music is so much more mature in it's uses of musical theory, dissonance, dynamics and overall composition. Each song is so much better developed too.

The album starts out with a prog epic called "The Companions" which is excellent musical drama that lasts over 10 minutes. This is a well developed endeavor and starts things off quite impressively. The band utilizes an evil thread throughout their music, in the same way that many other avant garde prog bands do, but SGM uses extremes so much better than a lot of other bands. Next is the black metal satirical song "Headless Corpse Enactment" which utilizes lyrics from James Joyce's "Finnegan's Wake", however, the words still sound like they could have been written by a black metal band, and the growling vocals back that up. The difference here is that the instrumentals are very complex, yet they are still heavy and pounding. "Puppet Show" however, takes us off in a different direction and actually approaches the Idiot Flesh sound more than anything else on the album, but, again, much more mature.

"Formicary" is a wild ride of vocals from Dan and Carla with the oddest of harmonies. The accompanying instrumentals make this track sound like someone took early Kansas and Tool, but them in a bowl, took a potato masher and mashed it all together. Carla's violin is as heavy and crazy as the guitars and percussion, and fits so well in the music. Without her violin, this band wouldn't be the same. At times, it is the heart, even though it is not always as pronounced as one would expect, it adds dimension to what would otherwise be a lot of crashing guitars, complex rhythms and wild ass percussion, not that that is a bad thing, but the strings are what give the music and individual tracks the character that is needed. And don't worry, the violin is just as crazy as everything else. You will also notice that the almost funky sound of the guitars in this track is very reminiscent of King Crimson's "Thrak" and would represent the sound that would have been produced if Robert Fripp had decided to take that sound another step further, which Fripp did, but while his step was in the "improv" direction, SGM take it in the "even more chaotic" direction.

The album continues to excite and entertain, as in the amazing track "Angle of Repose" which starts off with Carla sounding like Bjork in a band without so many keyboards and then just goes off in it's own direction. Anyway, I think this will give you a good example of what to expect here. The tracks continue to be challenging, to say the least, and the sound on this album at first seems more inaccessible than they others (not that they are always that accessible anyway) and it does have a thicker sound, but it is all done so well.

Again, it's such a shame that the band had to pull the plug after 3 albums. There was so much talent and songwriting genius here, that too often the music went way over the listeners heads. Possibly too loud for a lot of prog lovers, but way, way too complex for most metal heads, you just have to give this music time, but if you are someone who appreciates complex music, then you will get it. At first listen, I would have given this only 4 stars, but now that I have heard it several times, and each time I grasp something else amazing about the music, and I find myself loving more each time I hear it, I have advanced this to masterpiece status. Some may think that is extreme, but for avant-metal-prog, this is some of the best. Easily 5 stars and this is how it should have been done.

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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
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 EL┴STICA Mexico
ARRIGO BARNAB╔ Brazil
BARNACLED United States
BARRICADE France
LES BATTERIES France
BEGNAGRAD Yugoslavia
BOB BELL Canada
BEN LEVIN GROUP United States
BIG BLOCK 454 United Kingdom
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
BONE Multi-National
THE BOOK OF KNOTS United States
BOREDOMS Japan
FRANăOIS BREANT France
MARKO BRECELJ Yugoslavia
BREZNEV FUN CLUB Italy
BROKEN.HEART.COLLECTOR Austria
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 CďNDOR Chile
CERBERUS SHOAL United States
CHARMING HOSTESS United States
CHEER-ACCIDENT United States
CH╩NE 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-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
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 ART┌S France
FANTOMAS 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
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
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 France
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
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
KOLKHÍZE 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
LIGEIA MARE United States
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
MOSA¤C 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 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
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 RHINOC╔ROS 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
SCHNELLERTROLLERMEIER 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
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
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
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
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 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
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