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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 27/8/2014

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

RIO/Avant-Prog Top Albums


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

4.33 | 1105 ratings
HOT RATS
Zappa, Frank
4.32 | 602 ratings
ONE SIZE FITS ALL
Zappa, Frank
4.30 | 630 ratings
THE GRAND WAZOO
Zappa, Frank
4.64 | 31 ratings
H─XAN
Art Zoyd
4.30 | 207 ratings
SING TO GOD
Cardiacs
4.28 | 219 ratings
UZED
Univers Zero
4.27 | 291 ratings
CHOIRS OF THE EYE
Kayo Dot
4.31 | 124 ratings
IN EXTREMIS
Thinking Plague
4.43 | 51 ratings
ZABRANJENO PLAKATIRATI
Buldozer
4.27 | 190 ratings
A LITTLE MAN AND A HOUSE AND THE WHOLE WORLD WINDOW
Cardiacs
4.61 | 27 ratings
Гуси-Лебеди / GEESE AND SWANS
Vezhlivyj Otkaz
4.25 | 202 ratings
M┼LTID
Samla Mammas Manna
4.34 | 68 ratings
JEAN LOUIS
Jean Louis
4.48 | 36 ratings
SIRENS AND SILENCES/WORK RESUMED ON THE TOWER
News From Babel
4.39 | 50 ratings
BOOK M
Secret Chiefs 3
4.23 | 195 ratings
HERESIE
Univers Zero
4.23 | 157 ratings
WESTERN CULTURE
Henry Cow
4.55 | 25 ratings
LETTERS HOME
News From Babel
4.51 | 26 ratings
SCAMBOT 1
Keneally, Mike
4.24 | 92 ratings
BARBARO (MA NON TROPPO)
Present

RIO/Avant-Prog overlooked and obscure gems albums new


Random 4 (reload page for new list) | As selected by the RIO/Avant-Prog experts team

CARTOON
Cartoon
VOIX DE SURFACE
Nimal
KILLED BY CHARITY
X-Legged Sally
BEGNAGRAD
Begnagrad

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Latest RIO/Avant-Prog Music Reviews


 Feather Float by OOIOO album cover Studio Album, 1999
4.02 | 13 ratings

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Feather Float
OOIOO RIO/Avant-Prog

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars Yoshimi P-We is one of the crazy geniuses who defy all expectations, break every rule and gleefully revel in the contempt it causes. I have just learned that her solo all-female band OOIOO isn't just a random uttering of vowels to annoy the speaker but in fact is a 5-bit code representing giving someone the middle finger. Clever, yes. Just like the music she and her all girl posse conjure up on their second release FEATHER FLOAT, which i like to call "The Pretty Birdie Album" because of its spectacular and dynamic artwork (done by Yoshimi) which takes the bold bright colors of every young girl's Barbie's Dreamhouse and My Pretty Pony fantasies and turns them into a psychedelic and cloud chasing mind expansion. After being blown away by their outstanding album "Taiga" as well as by her work with the Boredoms, i was eager to explore her eclectic and experimental works further and this was the next album that found its way onto my player.

It isn't sufficient to call the works of Yoshimi experimental, trippy, wild and weird because as with the earliest of Boredoms releases, this is beyond weird. It exists in its own musical world. There are really no rules to follow and the only thing that really keeps this from falling into pure chaos is the desire to keep an organic and rhythmic march through the album's run. The result of this highly experimental music is that it is both very approachable and truly unprecedented simultaneously. This is one of those albums i decided to comment a bit track by track because it's the only true way to convey what's going on. Far from a comprehensive description, it suffices to add that Yoshimi alone plays guitar, djembe, bongos, synths, keyboards, jew harp, talking drum and contribute all lead vocals as well as DJ scratches and other bizarre noises. The other girls include Maki on bass and handclaps, Yoshiko on drums and handclaps and Kyoko on guitar, handclaps and vocals. The GoGos or the Bangles this ain't. This is an amazingly talented bunch of women who display a wonderfully addicting feminine take on experimental rock. This album didn't grab me immediately like "Taiga" but it has sunk in and although not as perfect as that album it is a beautifully surreal sonic experience nonetheless.

1...The least interesting tracks are the first two. The album starts off with the overly repetitive "Be Sure To Loop" with a recurring groove in 4/4 timing that lasts 7:45. Way too long and kept me from enjoying this album at first. Nothing really interesting happens and hints at a total turkey of an album. This track should have been dropped IMHO.

2..."Oizumo" is a cover of a Kiyoshi Izumi song and although it is better than the opener it still is a rather monotonous space dance with a hippity hoppity bounce and straight forward 4/4 timing. Groovy for a dance party but not exactly interesting beyond. It does introduce elements of spacey synths and vocal chants. Should have been at the end or left out IMHO.

3..."Ina 咲くの唄" Now we get to the good stuff. Now we get a traditional Japanese koto riff only on the guitar. We also get some interesting vocal harmonies between the girls and the percussion becomes more complex with crazy time sigs. Still very catchy and groovy with the bass keeping all very accessible but the complexities are a welcome touch.

4..."Ina" morphs into "Ah Yeah!" with a steady groove and frenetic tribal drumming with high-energy declarative shouted vocals. Most lyrics are either nonsensical or Japanese. The song ends with a clever take on the C&C Music Factory's "Everybody Dance Now" with Yoshimi shouting "Everybody Trance Now."

5..."Switch On" is a short frenetic drum jam for a minute before vocals appear and we get a minute of "oh, oh, oh's" with trippy psych guitar freakouts

6..."Jackson's Club Sunspot" has a funk groove with trippy echo effects and choppy time sigs

7..."Asozan" Trippy single sliding guitar which finally adds housebeat drums and vocals

8..."Baby Bamboo From Nose" Starts out with DJ record scratching and then adds frenetic choral type chanting by two girls in unison with a ping pong ball dropping as percussion. After a while we get a groovy bass, full percussion and guitars

9..."1000 Frogs And 3 Sun In A House" Middle Eastern musically inspired with strings and percussion and wordless vocals. Ends in crazy psych guitar lead eventually accompanied by full drums and briefly morphs into a different song. Sounds like something the Secret Chiefs 3 would come up with

10..."Ring Ring Lee" Guitar riff and syncopated percussion. Vocals in English and perhaps a koto? or some other traditional Japanese instrument.

11...Simply a hidden track of weird noise to end a strange album

 You Can't Do That On Stage Anymore, Vol. 1 by ZAPPA, FRANK album cover Live, 1988
3.98 | 97 ratings

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You Can't Do That On Stage Anymore, Vol. 1
Frank Zappa RIO/Avant-Prog

Review by TCat
Prog Reviewer

4 stars Just as the title says, this is volume 1 of a large project put together by Frank Zappa that consisted of 6 volumes of live concerts and performances plus one sampler that collected the best of the series. This was quite a major undertaking done towards the end of his life. All of these recordings are top rate, much better than the Beat the Boots collections that gathered some of his bootlegged albums together with all of their flaws and production problems. These collections are top rate and polished so that they are highly listenable and enjoyable.

Most of the volumes follow a theme or concentrate on specific concerts. This first volume, however, is a collection of bit and pieces from concerts throughout his career from 1969 to 1984. Even with this mishmash of performances featuring various line-ups from his bands, the collection flows quite well and the quality of the recordings stays consistent throughout.

Like most of the reviewers have already stated, the first disc is the best, but both have some worthy highlights. On the first disc, "The Mammy Anthem" is a terrific instrumental that is from the horrible "Thing-Fish" album, but this recording was done before the release of that studio album and features great guitar work from FZ. "Diseases of the Band" is Frank conversing with the audience and telling them about all the sicknesses the band had at the time yet they were still there performing to their utmost as is proven by the following stellar version of "Tryin' to Grow a Chin". Then there is an enjoyable medley from an older concert of some instrumental gems. The thing that makes this collection a must-have for FZ fans is the inclusion of "Ruthie-Ruthie", which is a take on "Plastic People" which is in turn a take of "Louie-Louie" (a double take :P ), a funny little aside about Ruth Underwood who was the amazing percussionist of the time and this is followed by another track not available anywhere else called "Babette", which is definitely worth checking out. But not only that, the rest of the CD continues with amazing tracks with a version of "I Am the Slime" with a killer guitar solo. Then you get the amazing "Big Swifty" which in it's original form is a long longer on the album "Waka/Jawaka" but just knowing that this band could take this song on live is nothing short of miraculous. The song is structured as "Theme 1 - Improvisation - Theme 2" so that you know when it is starting and ending because those sections are always somewhat similar, but the improv part is always different every time it's performed. The miraculous part is the 2nd theme where a very complex melody is played by pretty much the entire band with Ruth Underwood following the lead guitar note for note on the xylophone which is something everyone should hear. Simply outstanding and worth the price of the CD on it's own. But that's not enough.....the entire 20 minute performance of "Don't Eat the Yellow Snow" is here with a lot of audience participation (you can hear for yourself how much fun a Zappa concert was) and also the rare coda for that entire suite (called "Rollo") is included and it was left off of the studio version of the suite which was on the album "Apostrophe".

The 2nd disc has less to offer as far as surprises, but there are some there and a few tracks that are still great. You get a 15 minute version of "The Torture Never Stops" with a great guitar solo, and the rest of the disc is shorter songs, some from the religious suite that was on the "You Are What You Is" album (but they are performed better here). You still have a few great instrumentals in "Oh No" and "Sofa #2" but nothing as stellar as on the previous disc. The faux lounge singing on "The Deathless Horsie" and "The Dangerous Kitchen" isn't too overwhelming this time and actually works better because of the brevity of the performance which helps increase the humor factor. The collection is tied together by the bookends of the album, namely Sofa #1 at the beginning and Sofa #2 which closes the collection. This adds to the continuity, which is a factor that Zappa pushed for in his music.

So, this is a great collection, and those looking for great live performances by Zappa and the band should examine this series of albums. This volume is definitely safe and would be a great purchase to help give you a good idea of what the FZ band line-up sounds like in its different incarnations. If you love a certain sound, then you will have a better idea which live albums from Zappa would appeal to you more. There are some weak points in this Volume 1 collection, but not enough to get too worried about because they don't take up much time out of the 2+ hours of music that is contained on the collection. This is essential for FZ lovers, but might not quite be to the 5 star standard for all prog lovers, but it is close. If you do get a chance to purchase this one, I wouldn't hesitate.

 You Are What You Is by ZAPPA, FRANK album cover Studio Album, 1981
3.63 | 209 ratings

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You Are What You Is
Frank Zappa RIO/Avant-Prog

Review by TCat
Prog Reviewer

3 stars After the success of the great "Shiek Yerbouti" and the decent "Joe's Garage" albums, Frank had decided to work on a huge 3 disc collection of live performances called "Warts and All" but ended up scrapping that project because it got to be to lengthy. So next he decided to work on another album which was to be called "Crush All Boxes" which was to be a single disc album of mostly new studio tracks (many of which are on this album). He also decided to nix that project because he wanted to use as much as possible of the material that had been collected from all of these projects. What ended up happening was this 2 disc album and the album "Tinseltown Rebellion" which he felt would be a good representation of his talent. He also decided to work on the "You Can't Do That on Stage Anymore" series and the "Shut Up and Play Your Guitar" series. All of that came to fruition. Talk about an ambitious person.

So that is that background for this album. This one ended up being mostly humorous and pop/rock oriented. Unfortunately, it tends to be an album that wears out it's welcome, not because of the material so much as the presentation of it. There are 3 lead vocalists and they are almost always singing together which causes a dense sound because the singers are all strong in their midrange, so the harmonies are very dense and heavy. The vocals are also mixed close to the front, so the instruments are not so emphasized here. After a few songs, this dense vocal sound gets old and the tracks start to sound the same.

There is only one short instrumental on this album and it is one of the best tracks on this album. It is very avant garde and has the thickness of most of FZ's instrumentals. Other than that, there are a few short guitar solos that sound great when they start, but are over way too quickly. A few of the tracks are overly repetitive and should have been faded out or ended sooner. There are several themes throughout the album and the tracks that deal with the same material are arranged together on the album. You have the usual off color humor songs, a few songs about Charlie and her enormous mouth, and several songs about religion, which are actually the better songs on here because you get some reprieve from the denser vocals, but not completely.

As much as I respect Frank and as badly as I want to like this album, it just does not live up to "Shiek Yerbouti" which was a better album by a long shot because of it's variety. That album has a little of everything and has very little wrong with it. This one is the opposite in that there is hardly any variety on it at all. I would rather listen to a full album of FZ's instrumentals or guitar solos than this thick album. The vocals are just too dense and the songs are too much all the same.

I do like a few of the tracks like the title track, "The Meek Shall Inherit Nothing" and "Jumbo Go Away" but 20 tracks of this is way too much. Not much prog here either, some, but not enough. I can maybe let it squeak by with 3 stars, but only barely.

 Death of the Red Masque by RED MASQUE, THE album cover Singles/EPs/Fan Club/Promo, 2001
3.62 | 5 ratings

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Death of the Red Masque
The Red Masque RIO/Avant-Prog

Review by thwok

4 stars I decided on a final rating of 4 stars for The Red Masque's debut release. I was torn between 3 and 4 stars, but decided that Death of the Red Masque deserved the extra star for its uniqueness. The Red Masque are an experimental progressive rock band with their own sound. Although I haven't read any interviews with the band, it's clear to these ears and my fellow reviewers that Larks' Tongues in Aspic vintage King Crimson is the starting reference point. A lot of The Red Masque's atmospheric music does indeed, as Warthur suggests, sound like it would fit very well in a horror movie.

This difficult music is very well-played; it's clear that these are musicians with a lot of experience. Lynette Shelley uses her dramatic alto voice very skillfully. My favorite track is probably "A Moon Falls", but I enjoyed all the music here. A lot of The Red Masque's music apparently starts as improvisations, and the finished product reflects that. My primary complaint is that the longer songs sometimes come off as meandering and repetitive. However, that is a minor complaint, and it's certainly less true of The Red Masque than other bands under the RIO/Avant Prog umbrella. Therefore, if you're looking for a change of pace and my descriptions raise your interest, The Red Masque is definitely worth your time.

 Univers Zero (1313) by UNIVERS ZERO album cover Studio Album, 1977
4.16 | 172 ratings

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Univers Zero (1313)
Univers Zero RIO/Avant-Prog

Review by stefro
Prog Reviewer

2 stars One of the five founding members present at 1978's very first 'Rock In Opposition' festival in London(don't ask) Belgian avant- gardists Univers Zero belong to that strange little sub-set of groups who have essentially been thrown-in with the prog-rock crowd as a result of their inherant weirdness, the utterly unclassifiable nature of their sound, but most of all because there was simply no place else to put them. Branding Univers Zero under the label of prog-rock is therefore not only incorrect, but dangerously misleading as some listeners have discovered, for this is not rock music as you probably know it. Dark, challenging, deliberately obtuse, influenced by 20th century classical music, chamber music and rock 'n' roll(really?) and featuring a line-up of seriously capable musicians armed with acoustic instruments such as bassoons and obeoes, Univers Zero are, very probably, every record company executives darkest nightmare. Of the five groups present at that very first RIO concert, Univers Zero are arguably the most inaccessible of the lot, making even British avant-jazz jokers Henry Cow seem bright and breezy in comparison. Therefore it shouldn't come as a surprise to learn that this was a group that largely operated outside the margins of the known Music Biz universe, in the process becoming influential members of the RIO movement's subsequent get- togethers. Self-released in 1977, the group's eponymous debut is now regarded as a cornerstone of the genre, and on paper it seems like an intriguing proposition, yet the reality is rather more disturbing. That's because one of the main tenets of the RIO sound, and a core piller of it's DNA, is to utilise intricately-woven and deliberately-unsatisfying melodies and chord sequences to create a sound unlike anyother, meaning that to the average rock fan the music of Univers Zerio must sound acutely awful. However, those versed in ways of prog-rock may find more crumbs of interest than most, if only for the way the music is constructed, and not because of the way it sounds. Whilst for some the RIO movement was an exciting platform for creating original, daring and thought-provoking new music, for pretty much everyone else it was just a bunch of overly-intellectual art-twits indulging in inaccessible silliness. Some of the music is of course valid, but for many the experience of listening to this record will prove rather unpleasant. Subsequent listens do reveal the complex disposition of the compositions, the subtle and shifting textures and the surprisingly strong rock 'n' roll influence, yet the relentlessly confrontational nature quickly becomes gruelling, making this a hard listen for anyone in search of actual entertainment. Yes, it's impressively played and original and all that jazz, but in the end none of that seems to matter. Give me Foreigner, Journey or Styx anyday. STEFAN TURNER, STOKE NEWINGTON, 2015
 L'Útrange Mr. Whinster by HORRIFIC CHILD album cover Studio Album, 1976
2.54 | 14 ratings

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L'Útrange Mr. Whinster
Horrific Child RIO/Avant-Prog

Review by apps79
Special Collaborator Neo Prog Team

2 stars Jean-Pierre Massiera was one of the most controversial figures of the French Experimental/Prog Rock scene of the 70's.He was involved in several obcure projects and bands like After Life, Atlantide, Visitors, Human Egg, Working Progress, Wapassou and others as an instrumentalist, singer or sound engineer.Horrific Child could be regarded more of a personal project, a collective of Massiera, some guest musicians (like bassist Tony Bonfils from Working Progress) and instrumentalists from the Nice Music Conservatory, as it was revealed on later reissues of the album, as on the original Eurodisc vinyl edition no credits were displayed.The album was titled ''L'etrange Monsieur Whinster'' and came out in 1976.

A complete oddity of the 70's, a downright weirdness in the fields of Experimental and Avant Rock with extensions to Horror Film and OST Music, this one comes as a combination of orchestral manifests, spoken poetry, multi-ethnic influences and Fusion experiments.Not what you would call a Prog album, but it has some links to ''Atom Heart Mother''-era PINK FLOYD and several of Battiato's works on Experimental Rock, Avant-Garde Music and Minimalisim.Three long tracks, where ''H. I. A.'', about 16 minutes long, contains the most interesting themes with several grand orchestrations and proggy edges on instrumental parts, but also too much haunting soundscapes with wordless vocals and sound effects, an extreme attempt on experimental composing with acoustic, electric, noise and minimalistic moments.Could be good for a related movie soundtrack.''Frayeur'' starts quite nicely, recalling the legendary compatriots CATHARSIS, featuring some strong electric moves, quasi-Classical dated organs and sinister voices, before becoming a tribute to African Music with use of local languages, African percussion and wind effects.I can't see how these styles could be complementary to each other, it does not matter, Massiera certainly found a way in his own mind.I am really sceptic about the existence of ''Angoisse''.Eight minutes of French narration with background electronics and some sporadic piano dissonances and percussion.No way I will ever figure out what's the true point behind it.

Trully exaggerate and dark music.Prog touches blended with African Music, noises and effects and outlandish vocals, highly improvised and extremely bizarre.Requires a certain mood for a proper listening, even if you're fan of the most sharp music experiments.Original copy goes for triple-digit bucks at auctions, reissues exist.

 The Yellow Shark by ZAPPA, FRANK album cover Live, 1993
3.81 | 92 ratings

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The Yellow Shark
Frank Zappa RIO/Avant-Prog

Review by TCat
Prog Reviewer

5 stars This is an important album for many reasons. First, it is concert recordings of FZ's serious (or classical) music and it is the best representation of his orchestral music. It is also the last album FZ would release in his lifetime before he succumbed to cancer. He was in a lot of pain and suffering during the time of these concerts, but was still able to actually appear at only 2 of the concerts in Frankfort. At the first of these concerts, which part of this concert is featured on this album, he was able to conduct 4 of the tracks while the remainder was conducted by Peter Rundel, who was the usual conductor for the Ensemble Modern, the only orchestra that seemed to really understand Frank's classical music. It was their idea to do Frank's music as part of this tour that featured 3 other composers.

Frank apparently got along quite well with the musicians and invited them to Los Angeles to do rehearsals even though he was quite sick. Some of these sessions are released on the album "Everything is Healing Nicely" which is a companion album to "Yellow Shark".

FZ calls this project that is recorded here the most fulfilling project he had ever participated in. It must have been so amazing to him to hear his music taken seriously by this orchestra and to be so appreciated by the audience.

The album is completely classical with little bits of FZ's humor showing through from time to time, especially in the tracks that he conducted. During the performance of "Welcome to the United States" the application form for immigrants coming into the country is read in a rather cheery voice with orchestral sounds going on underneath. It is quite an excellent example of Zappa humor. Other than that, it is orchestral and instrumental all the way through. If you don't like classical music, then you might have a hard time with this one. The music that was chosen for this concert consisted of some of Frank's jazz classics which will be recognizable to Zappa's fans and also some musique concrete pieces; 20th century/Modern Classical pieces. The Modern Classical pieces are exactly that, they are written without a lot of discernible melodies, but more in the style of Stravinsky and Varese which are composers that FZ idolized and loved.

The performances are bright and mostly cheery sounding, even with the extent of the dissonance and untraditional styles. At first, the music might sound a lot like soundtrack style music to the listener that is not accustomed to the Modern Classical or Avant Garde style. It does take some ear training to pull out the melodies and structure of the music as it is with this style of music. Remember, that one of the main reasons that Progressive Rock is not accepted so well is because the general public has not trained themselves to listen to it yet. That is also why this style of classical music is hard for a lot of people to listen to also. Like I always say, with understanding comes appreciation. This music does have to be understood and a lot of time is necessary to really "get it" just like it is for Progressive Rock. That's what makes the music challenging. Anyone can listen to top 40 pop and it doesn't require a large investment to get it....but it does tend to get old and stale really fast which is why you can hear a song on the top 40 radio one day and one month later, it is considered outdated. Timeless music, however, lives on generation after generation.

FZ's serious music is definitely legitimate classical avant garde and respected by the classical world. The music is studied in legitimate music schools right along with other composers of this style. This is the music that FZ wanted to make, the music that he wanted the world to hear. He used rock and humor as a vehicle for making his jazz and classical music more accessible.

The last song that FZ conducted, and the last public performance and appearance was the last track "G-Spot Tornado". Imagine how proud he must have felt through his pain and suffering that his music was finally brought to the masses, that it was being respected and performed masterfully and that his life's work had been accepted as he stood there before the audience after this performance as they gave him a 20-minute standing ovation. No wonder he felt that the event was fulfilling and exhilarating. He had lived the dream and seen the realization of that dream, the one thing that so many composers have wished to see in their lifetimes. Some were not able to see that during their lives. FZ did and was deserving of it.

This is an essential album for avant garde and FZ fans. 5 stars.

 Gran disordine sotto il cielo  by GRAMIGNA album cover Studio Album, 1977
3.15 | 9 ratings

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Gran disordine sotto il cielo
Gramigna RIO/Avant-Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars This was a large ensembe from North Italy with 8 musicians involved, which released one album for the Ultima Spiaggia label.Oboist Mario Arcari later played with Ensemble HavadiÓ and singer/percussionist Umberto Calice was already a member of Yu Kung.Other members were bassist/guitarist Raul Scacchi, basoonist Dino Mariani, guitarist Maurizio Martelli, pianist Alberto Mompellio and singer/guitarist Francoise Godard.The album was titled ''Gran disordine sotto il cielo'', released in 1977.

This was one of the sporadic attempts from Italy on artistic Prog Folk with elements of Jazz and Chamber Music thrown in, highly acoustic, still with plenty of interesting moments and a good instrumental depth.It sounds like Italian Poetry mixed with soft Progressive Rock, offering subtle orchestrations with little rock content but with a nice generosity on varied instrumental themes with the display of oboe, violin and bassoon leading to some R.I.O.-flavored, emphatic and complex themes.I love the discreet bass work on this one along with Mompellio's great piano parts and atmospheric background organ.When the female vocals lead the music, the album has a slight Pop vibe, still keeping the artistic attitude quite high.Some sort of STORMY SIX meet PICCHIO DAL POZZO (yes, there is even a slight Canterbury aura on this one) meet PANGEA album.Am I the only one to hear some vibraphone on this one?Whatever, the music is extremely elegant, even if the lack of electric moments make it sound pretty delicate as a whole, but there is some serious beauty on this one, after the Mediterrenean atmosphere comes to meet the Chamber Jazz principles.Vocal tones and narrations are quite charming as well and parts of the album could have been easily used as soundtrack for a vintage Italian movie.

An honest and sincere attempt on a different king of Prog Folk.Quirky, intricate, poetic and theatrical music, largely based on acoustic and wind instruments.Nice stuff.

 Everything Is Healing Nicely (EIHN) by ZAPPA, FRANK album cover Studio Album, 1999
3.30 | 32 ratings

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Everything Is Healing Nicely (EIHN)
Frank Zappa RIO/Avant-Prog

Review by TCat
Prog Reviewer

3 stars This album was released posthumously by the Zappa Family Trust. Basically, it is a collection of outtakes and rehearsals that were recorded during the recording of the "Yellow Shark" album. Being that "YS" was a highly respected work of FZ, this album was released to give people an insight as to what goes into the recording of one of FZ orchestral/serious works.

The good side of this album is that it contains some run-throughs that are very well recorded and these tracks are a good supplement to "YS". Tracks like "Roland's Big Event/Strat Vindaloo", "T'Mershi Duween" and "9/8 Objects" are excellent recordings that could have been included in the final product. However, there are others that tend to drag on too long and are difficult to remain attentive to like "Nap Time" (a fitting title) and "Wonderful Tattoo". For titles like these, it would be good to have accompanying video to watch how Zappa lead the orchestra/band with his hand signals and cues.

The bad thing about this collection is the times when the record button was left on during certain "readings" that ramble on for too long and take up too much time on this album. The novelty of these tracks just wears off way too quickly. I don't know if this was an attempt by the family to make the album more listenable and light weight, but to me it distracts from the best parts of the album and also lessens the chance that it could ever be taken seriously. This album could have been utilized as a study tool in music education to aid into the insight of FZ's serious music, but there is no chance of that happening because of the ramblings.

Anyway, with the unevenness of the album, the best that I can do is give this a 3 star rating. I suppose this album would make the most sense to the lovers of the "Yellow Shark" album that would like to hear more, Anyone else would probably scratch their head wondering what all of this is about.

 Zypressen by ZYPRESSEN album cover Studio Album, 1996
3.85 | 21 ratings

BUY
Zypressen
Zypressen RIO/Avant-Prog

Review by Conor Fynes
Prog Reviewer

3 stars 'Zypressen' - Zypressen (63/100)

Halfway into my first listen of Zypressen's self-titled (and only) album, I was left with the impression that the band's drummer must have the title of 'easiest job in the world'. It took a quick glance at the band members and their respective instruments to see the folly in that statement. Hirofumi Imai is listed as Zypressen's drummer, but he also takes charge of the marimba, xylophone, glockenspeil and 'wind synthesizer'. Add to that the example of a bassist who moonlights as the band's cellist/violinist, and you might get a better idea that Zypressen are miles from ever taking the 'easy' route in their music.

Although their layered arrangements and forays with atonalism convey their avant-prog influences, Zypressen is firmly rooted in chamber rock, the particular likes of which Univers Zero might undoubtedly stand as the flagship for. In the case of Zypressen (released in 1996, now something of a hidden gem amongst chamber/avant nerds), think of what the lighter side of Univers Zero might have sounded like, had it been influenced directly by the darker side of Univers Zero. There's no doubts that Zypressen is a weird and challenging album in parts (especially for those to whom 'chamber rock' may be an alien term) but the essence of their music is soft and listenable.

Zypressen's arrangements are nuanced and far more complex than the generally light tone of the album would suggest. At their best, Zypressen function in unison and without any sign of ego or individual motivations; it's really as if the music has been composed from a bird's eye view; none of the instruments are more than brushstrokes in of themselves- everything is conceived as a part of the whole. This gestalt approach to performance is a far cry from the egotism of rock (progressive rock included) but it's right at home with chamber musical tradition, which tends to pride itself on placing the whole before its parts.

With that context in mind, it's a bit of an irony that the composed parts of Zypressen come together only loosely. There are some individually excellent musical concepts to emerge here (just hear some of the explorations in "STR (Against the Wind)" to see my point) but there's very little of the adhesive Zypressen would have needed to give them the structural coherence their promising arrangements probably deserved.

Based on some of the track name extensions here ("Tangent", for instance, is denoted here as a 'new version') I get the sense that there is a side of Zypressen's career that we're not seeing here. Where are the old versions, the old mixes that this self-titled is building upon? I think some much-needed context and history would help put the album's strengths (and, more head-scratchingly: its weaknesses) in perspective. For a style and approach that obviously prides itself on the merits of composition above all else, it is puzzling that Zypressen do not manage to bind their art with a more satisfying structure. The beautifully written tripartite suite at album's end proves to be an exception to the rule (drawing chamber classical and jazz together in a fit of Third Stream brilliance) but even then, it does not feel like the band has properly managed to get their riffs to fit together.

That the band's sense of composition is so unfocused is a shame, really. A lot of the ideas here are pretty amazing, and surely deserved more than the structural mess that was afforded to them.

Data cached

RIO/Avant-Prog bands/artists list

Bands/Artists Country
1870 (MIL OCHOCIENTOS SETENTA) Mexico
3 MICE Multi-National
5UU'S United States
THE A BAND United Kingdom
A-MUSIK Japan
A.P.A.T.T. United Kingdom
ABSOLUTE ZERO United States
AFENGINN Denmark
AFTER DINNER Japan
AFUCHE United States
AHLEUCHATISTAS United States
AHVAK Israel
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
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
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
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
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
THE FRACTURED DIMENSION United States
FRENCH TV United States
FRIENDLY BEARS United States
FRED FRITH United Kingdom
FRANK-WILLIAM FROMY France
FUKKEDUK Belgium
DIAMANDA GALAS United States
GANNETS United Kingdom
GARAMOND Italy
GARGANTUA Poland
GATTO MARTE Italy
PATRICK GAUTHIER France
GEINOH YAMASHIROGUMI Japan
GESTALT ET JIVE Multi-National
GOD OF SHAMISEN United States
GODZIK PINK United States
GOLDBUG United States
GOLDEN AVANT-GARDE Japan
THE GORDON GRDINA TRIO Canada
GORGE TRIO United States
GRAMIGNA Italy
GRAND ULENA United States
LA GRANDE FORMATION Belgium
LES GRANULES Canada
GRAVITSAPA Ukraine
GROUND ZERO Japan
GRUPPO D'ALTERNATIVA Italy
GUAPO United Kingdom
GUNJOGACRAYON Japan
GUTBUCKET United States
GUTURA France
LES HALMAS Switzerland
HAMSTER THEATRE United States
HARDSCORE Belgium
HASIDIC NEW WAVE United States
THE HAT SHOES Multi-National
CHARLES HAYWARD United Kingdom
HELLEBORE France
HEMOPHILIAC United States
HENRY COW United Kingdom
HERBE ROUGE France
HESUS ATTOR Croatia
HI-SPEED Japan
HIKASHU Japan
TIM HODGKINSON United Kingdom
LARS HOLLMER Sweden
HONEY RIDE ME A GOAT United Kingdom
HORDE CATALYTIQUE POUR LA FIN France
HORRIFIC CHILD France
HOT FUR Israel
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
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
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HENRY KAISER United States
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KAREN COOPER COMPLEX United States
KARENAUTAS Argentina
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MIKE KENEALLY United States
KILLING TIME Japan
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KLIMPEREI France
THE KNELLS United States
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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
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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
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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
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MIASMA AND THE CAROUSEL OF HEADLESS HORSES United Kingdom
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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
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
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
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
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
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TARTAR LAMB United States
TAYLOR'S FREE UNIVERSE Denmark
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ROBIN TAYLOR Denmark
TENKO Japan
TEXTBOOK OF MODERN KARATE Italy
THINKING FELLERS UNION LOCAL 282 United States
THINKING PLAGUE United States
THIS HEAT United Kingdom
JACQUES THOLLOT France
THONK Switzerland
THRANGH Italy
STEVAN KOVACS TICKMAYER Serbia
TIGRESS AND THE U-FRAIDEES United States
TIGROVA MAST Croatia
TIME OF ORCHIDS United States
TIPOGRAPHICA Japan
TOM MOTO Italy
TONE DOGS United States
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TR-OND & THE SUBURBAN SAVAGES Norway
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TRIBAL LOGIC Russia
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TRIPLE ZERO France
YASUTAKA TSUTSUI / KOHSUKE ICHIHARA / MASAHIKO SATOH Japan
U TOTEM United States
UDUS Italy
UKANDANZ France
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UNBELTIPO Japan
UNIVERS ZERO Belgium
UNREST WORK & PLAY United Kingdom
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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
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WHEN Norway
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THIERRY ZABOITZEFF France
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FRANK ZAPPA United States
TOM Z╔ Brazil
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ZOAMBO ZOET WORKESTRAO Slovenia
ZOOLIXO LIGO Greece
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